Podcasts about House of cards

La cuarta temporada de The Witcher marca un punto de inflexión importante en la serie de fantasía de Netflix: Henry Cavill se despide como Geralt de Rivia y Liam Hemsworth toma el relevo. En este episodio de Razones Para Ver , analizamos sin spoilers cómo esta transición actoral no solo funciona, sino que potencia el arco emocional del personaje y redefine la dinámica de los protagonistas. Además, repasa el desarrollo de Yennefer y Ciri, el equilibrio narrativo entre sus tres ejes principales y el pulso visual y narrativo que mantiene la serie como una de las grandes apuestas del género fantástico. Una temporada que prepara con firmeza el camino hacia un cierre que promete ser épico y oscuro a partes iguales. SINOPSIS: Ahora que todos los conflictos del Continente se han convertido en una guerra en toda regla, va a ser aún más difícil para Geralt de Rivia viajar a través del mismo, incluso con su viejo amigo Jaskier y su nueva amiga arquera Milva cerca. El hechicero intenta proseguir su búsqueda de Ciri, que se ha escondido tras conocer la oscura realidad de sus poderes apocalípticos, mientras que Yennefer se prepara para tomar un nuevo liderazgo. La restauración del orden del Continente no será tarea fácil. Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Shutdown day 31, as Dems remain deadlocked on healthcare subsidies to open the government. Meanwhile Obamacare premiums are skyrocketing, and predictions of the healthcare program's collapse are being realized. What's next, plus perspective and commentary on Friday morning's biggest stories, on the Friday 10-31-25 edition of the Bob Rose Show

Lionel delivers a scorched-earth post-mortem, blasting political opponents for "ego-maniacal lunacy" and dissecting the rise of the "sock puppet" Mamdani. Uncover the necessity of the aggressive counter-strategy, Operation Radioactive. We analyze how tyrants seize control and reveal the ten tenets of the "Order of Renewal"—a manifesto demanding civic strength, realism, and truth, fighting entitlement and fractured families. Dive into cultural commentary, lamenting the loss of "OG" toughness (no helmets, no training wheels) while critiquing modern safety trends. Plus, master the art of negotiation and human "tells" learned during Matt Blaze's cutthroat career as a car salesman. Don't miss the harrowing personal anecdote of a severe pain attack suffered while shooting on House of Cards, plus brutal assessments of the bizarre NYC election race. Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode navigates the frustrating chaos of the current election, featuring controversial candidates like Cuomo, Curtis, and the often-misnamed "Mom Donnie" or "Mudami". Lionel shares personal, surprising career anecdotes, including his time as a cutthroat car salesman, detailing the science of putting a deal together and the necessity of cold-calling lease lists. Get an exclusive look at the challenges of working in talk radio and television, including the harrowing story of a severe pain attack suffered in Baltimore while shooting on House of Cards that culminated in a dramatic, screaming request for morphine. The discussion also touches upon the frustrating legacies of political figures, and the absurdity of poorly written movie quotes, such as "Love means never having to say you're sorry". Learn more about your ad choices. Visit megaphone.fm/adchoices

-President Trump wraps up extraordinary Asia trip. -Sen. Rand Paul critiques the Trump administration's decision to strike alleged drug boats. -Sen. Ted Cruz: "I think, at a very minimum, the Democrats are going to keep this shutdown going through Election Day next Tuesday." -Jim Jordan raises concerns over the expansive FBI investigation led by Jack Smith. -Newsmax's Chris Salcedo: “The Democrats' house of cards continues to collapse.” Today's podcast is sponsored by : WEBROOT : Live a better digital life with Webroot Total Protection. Newsmax Daily listeners get 60% off at http://webroot.com/Newsmax  Listen to Newsmax LIVE and see our entire podcast lineup at ⁠http://Newsmax.com/Listen⁠ Make the switch to NEWSMAX today! Get your 15 day free trial of NEWSMAX+ at ⁠http://NewsmaxPlus.com⁠ Looking for NEWSMAX caps, tees, mugs & more? Check out the Newsmax merchandise shop at : ⁠http://nws.mx/shop⁠ Follow NEWSMAX on Social Media:  -Facebook: ⁠http://nws.mx/FB⁠  -X/Twitter: ⁠http://nws.mx/twitter⁠ -Instagram: ⁠http://nws.mx/IG⁠ -YouTube: ⁠https://youtube.com/NewsmaxTV⁠ -Rumble: ⁠https://rumble.com/c/NewsmaxTV⁠ -TRUTH Social: ⁠https://truthsocial.com/@NEWSMAX⁠ -GETTR: ⁠https://gettr.com/user/newsmax⁠ -Threads: ⁠http://threads.net/@NEWSMAX⁠  -Telegram: ⁠http://t.me/newsmax⁠  -BlueSky: ⁠https://bsky.app/profile/newsmax.com⁠ -Parler: ⁠http://app.parler.com/newsmax⁠ Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode of Editors on Editing, Glenn is joined by Kirk Baxter.   Kirk has edited such amazing projects as the Curious Case of Benjamin Button for which he was nominated for a BAFTA and Oscar, The Social Network for which he won the BAFTA and Oscar and the Girl With The Dragon Tattoo for which he won the Oscar… all shared with Angus Wall. Other credits include House of Cards for which he was nominated for both a primetime Emmy and Eddie Award, Gone Girl, Mind Hunter and Mike, all for which he was nominated for the Eddie. His latest project is the riveting and powerful film, A House of Dynamite, now playing on Netflix.Thanks again to ACE for partnering with us on this podcast, check out their website for more.Want to see more interviews from Glenn? Check out "Editors on Editing" here.The Art of the Frame podcast is available on Apple Podcasts, Spotify, Google Podcasts, Anchor and many more platforms. If you like the podcast, make sure to subscribe so you don't miss future episodes and, please leave a review so more people can find our show!

En este programa especial de Review: Fuera de Series, nos detenemos a analizar, como se merece, la escena inicial de IT: Bienvenidos a Derry. Una secuencia de apenas diez minutos que no solo abre la serie con fuerza, sino que resume a la perfección su tono, sus temas y su ambición narrativa. Terror corporal, simbolismo oculto, ecos del racismo estructural y un niño que encarna el abandono y la inocencia rota: todo ello envuelto en una atmósfera asfixiante y dirigida con una precisión quirúrgica. ¿Por qué esta escena es una de las mejores aperturas que hemos visto en una serie de terror en años? Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

¿Necesitábamos una nueva sitcom catalana? ¿Tiene sentido volver al formato clásico con público en directo en pleno 2025? En este nuevo Razones para Ver , analizamos sin spoilers La casa nostra, la serie de 3Cat que promete risas, nostalgia y muchas dinámicas familiares complicadas. Con creadores como Dani de la Orden, Eduard Sola, Dani Amor y Oriol Pérez detrás, y un reparto donde brillan Marc Rius, Llum Barrera o Betsy Túrnez, la serie llega con la difícil tarea de llenar el hueco de Plats Bruts. ¿Lo consigue? ¿Es solo una comedia simpática o algo más? Dale al play y lo comentamos. Sinopsis: En menos de una semana, Miki, un joven que comparte piso con su amigo Èric, afrontará dos hechos traumáticos que cambiarán su vida para siempre. YA DISPONIBLE en 3CAT Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers Talamasca: The Secret Order, el último estreno de AMC que amplía el Immortal Universe de Anne Rice. ¿Qué pasa cuando un thriller de espionaje se cruza con el mundo de los vampiros y lo sobrenatural? Pues que surge una serie distinta, elegante y con muchas capas por descubrir. Sinopsis: Guy Anatole, quien, a punto de graduarse de la facultad de derecho, es abordado por un representante de Talamasca, una agencia secreta que vigila y protege a la humanidad del mundo sobrenatural. Cuando Guy descubre que Talamasca lo ha estado siguiendo desde su infancia, se ve arrastrado a un universo de agentes secretos y seres inmortales que, hasta ahora, han mantenido un frágil equilibrio con el mundo mortal. ESTRENO: 27 de octubre eb AMC y AMC+ Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Desde la hora menos, o la hora más, yo qué sé ya…, en el dichoso cambio de hora, California… C.J. Navas, Jorge y Don Carlos repasan la actualidad seriéfila de los diferentes canales, cadenas y plataformas, los estrenos de los próximos días, las ficciones más vistas por su audiencia, contestan a las preguntas de los oyentes y dan sus recomendaciones habituales de cada semana. Recomendaciones de la Semana: Don Carlos: DOC / NCIS: Toni y Ziva. Jorge: La diplomática. CJ: Los Tigres / Golpes / Series Mundiales de la MLB / Task / The proving ground. ¡Esperamos tus audiocomentarios!: Mándanos tus mensajes por WhatsApp al +34 604 41 64 49 o a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fueradeseries.com/mensajes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Vota en los Power Rankings: Participa en la elaboración de nuestros Power Rankings votando a tus series favoritas de la semana en: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fdseri.es/33u15eb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's episode Daniel, Sherman and Slothy talk about the new changes to the bracket system. We go over all the latest news and discuss the format and it's current direction! What do you think of the changes ? Patreon: https://www.patreon.com/Intothe99Go to house of cards for the best place to grab your singles! Use the promo code IT99 for a discount! Supports a great shop, saves you money and supports the show! https://houseofcards.ca/Check out these amazing sleeves ! Ai Armor is the best in the game and if you click the link below you can get some amazing new designs. Support an awesome company and support us in the process!https://www.amazon.com/stores/AiArmor/page/E772952B-3C23-4BE5-AA38-81B49CA42450?maas=maas_adg_2D6C4AC19673AFF658FDF6AD59314A37_afap_abs&ref_=aa_maas&tag=maasIf you want awesome audio equipment buy Rode ! Our affiliate link is below!https://brandstore.rode.com?sca_ref=6254570.6h6a2qaxNBWe have new merch! Make sure you check it out!teespring.com/stores/intothe99    Intro musicIntro Music by:Track: Hollow PurpleMusic from: Daniel RudeOutro music Music: www.purple-planet.com  The Instagram for slothys band !https://www.instagram.com/necrotic_spew?igsh=dzJpY3ByMzd4ejJ2The instagram and YouTube for Daniels music https://www.instagram.com/danielrudemusic?igsh=MW5xa3JrbGNvdm9xbw==https://youtube.com/@danielrudemusic?si=IBRTawXFJRoQS0xchttps://www.instagram.com/theskysmiledback?igsh=a3BreTJ1NXVjcmdmhttps://youtube.com/@theskysmiledback?si=xquejMSFoJDUaA2v      The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the show

Un proyecto de Castilla y León Film Commission en colaboración con Fuera de Series. En este décimo programa de Castilla y León Fuera de Series, nos acercamos a la 70ª edición de la SEMINCI, que tendrá lugar del 24 de Octubre al 1 de Noviembre en Valladolid. C.J. Navas conversa en primer lugar con Héctor Varela, de La Terna Films, que presenta dos cortometrajes en el Festival: Cenizas, mi amor, en coproducción con La Tapia Audiovisuales, y La Biblioteca, protagonizado por Dani Muriel. Después es el turno de Greta Díaz, cuya Loquita por ti se proyectará dentro de la sección oficial internacional de cortometrajes tras su paso por diversos festivales estadounidenses. Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers NCIS: Tony & Ziva, el nuevo spin-off de la longeva franquicia policial que recupera a dos de los personajes más icónicos de la serie original. Ambientada en Europa, con un giro hacia el thriller de espionaje y dejando atrás el formato clásico de “caso de la semana”, la serie mezcla acción, tensión emocional y química intacta entre sus protagonistas. ¿Sigue funcionando la fórmula Tony-Ziva después de tantos años? ¿Está la historia a la altura del hype? Lo comentamos todo —con cariño, con humor y sin destripes. Sinopsis: Años después, Ziva fue descubierta con vida, lo que la llevó a completar una última misión con el NCIS antes de reunirse con Tony y su hija en París. Desde entonces, Tony y Ziva han criado juntos a su hija Tali. Cuando la empresa de seguridad de Tony es atacada, deberán huir por toda Europa, intentar averiguar quién les persigue y quizás incluso aprender a confiar el uno en el otro para que puedan disfrutar de su felicidad poco convencional para siempre. Estreno: 27 de Octubre en SkyShowtime Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers IT: Bienvenidos a Derry, la nueva serie de HBO que expande el universo creado por Stephen King con una historia ambientada décadas antes de los eventos de It. En esta precuela, viajamos al Derry de 1962, una ciudad donde la amenaza de Pennywise no es lo único que infunde miedo. Racismo, violencia institucional y secretos enterrados bajo la fachada de normalidad convierten este drama de época con toques de terror en una propuesta sorprendentemente compleja. Conectando con personajes ya conocidos del multiverso King y añadiendo capas de profundidad al mito del payaso asesino, la serie se desmarca de las anteriores adaptaciones para ofrecernos algo nuevo. ESTRENO: 27 de Octubre en HBO Max Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

BT and Sal dive into the exploding NBA gambling scandal, with federal indictments ensnaring player Terry Rozier and others, asking if this is the final straw for the booming sports betting industry. They furiously debate the NBA's oversight, questioning if the leagues are capable of policing themselves, especially given past scandals like Tim Donaghy and the Black Sox. The hosts argue that rigging a game (point shaving/prop betting) is a far greater offense to the fan's trust than steroids, and they discuss whether a "surface level" league investigation into Rozier's actions was enough. Finally, they cover the defense's claim of "political grandstanding" by the FBI and consider the sobering thought: does gambling's deep history in sports mean the integrity of the game has been questionable for over a century?

Analizamos (SIN SPOILERS) Entrepreneurs, la comedia original de Disney+ creada por Rober Bodegas y Alberto Casado (Pantomima Full). Una serie que convierte el postureo, el humo y el “mindset” emprendedor en una sátira desternillante sobre el mundo del trabajo moderno. Seguimos a Gonzalo, un heredero incapaz de montar un negocio que funcione, y a Jacobo, un supuesto gurú del éxito con más charlas TED que sentido común. Juntos montan No Comfort Zone, un coworking donde las ideas brillan... por su ausencia. Aura Garrido lidera el intento de salvar este caos con una interpretación brillante. ¿Es solo una colección de sketches alargados o hay algo más detrás? ¿Tiene futuro este coworking o está condenado al meme eterno? Lo comentamos todo, sin spoilers y con nuestro toque habitual. Dale al play y sal, o no, de tu zona de confort. ESTRENO: 23 de Octubre en Disney+ Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

The financial house of cards is on the verge of collapse, and the warning indicators are flashing with gold, silver, and Bitcoin all at record highs. Confidence in the Western banking system has reached its all-time low, and most people have no idea that bank bail-ins have already been legalized into law well in advance of the collapse. The crypto deleveraging event wiped out 1.6 million traders worldwide who were playing in the casino with their shitcoins, erasing $19 billion in leverage in a matter of hours. The bond market is teetering, and the stock market is overheating, so it is time to grab a seat before the music stops. --- Watch the video version of this episode on the Macroaggressions Rumble Channel: https://rumble.com/c/Macroaggressions  --- MACRO & Charlie Robinson Links Hypocrazy Audiobook: https://amzn.to/4aogwms The Octopus of Global Control Audiobook: https://amzn.to/3xu0rMm Website: www.Macroaggressions.io  Merch Store: https://macroaggressions.dashery.com/  Link Tree: https://linktr.ee/macroaggressionspodcast Activist Post Family Activist Post: www.ActivistPost.com  Natural Blaze: www.NaturalBlaze.com  Support Our Sponsors C60 Power: https://go.shopc60.com/PBGRT/KMKS9/ | Promo Code: MACRO Chemical Free Body: https://chemicalfreebody.com/macro/ | Promo Code: MACRO Wise Wolf Gold & Silver: https://macroaggressions.gold/ | (800) 426-1836 LegalShield: www.DontGetPushedAround.com  EMP Shield: www.EMPShield.com | Promo Code: MACRO Christian Yordanov's Health Program: www.LiveLongerFormula.com/macro  Above Phone: https://abovephone.com/macro/ Van Man: https://vanman.shop/?ref=MACRO | Promo Code: MACRO The Dollar Vigilante: https://dollarvigilante.spiffy.co/a/O3wCWenlXN/4471  Nesa's Hemp: www.NesasHemp.com | Promo Code: MACRO Augason Farms: https://augasonfarms.com/MACRO  ---

Analizamos sin spoilers Bookish, la serie creada y protagonizada por Mark Gatiss que mezcla asesinatos, literatura y secretos personales con una elegancia muy british. Descubrimos por qué este peculiar librero con pasado oscuro y carta de Churchill en el bolsillo es uno de los personajes más interesantes del año, cómo la serie juega con los tropos del crimen clásico sin dejar de emocionar, y qué hay detrás de su “lavender marriage” con la siempre magnífica Polly Walker. Hablamos de los misterios, del humor, del drama contenido y de esa ambientación que te transporta a una época llena de humo, culpa y libros con más pistas que las comisarías. Si te gustan las historias bien contadas, los detectives excéntricos y los personajes con capas, esta es tu serie. ¿El crimen perfecto? No. ¿Una joyita inesperada? Totalmente. Dale al play y acompáñanos. YA DISPONIBLE EN FILMIN Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Isabelle Blaser  - Vet Receptionists On the State of the Veterinary Field: "I think it's just a nationwide thing. That vet hospitals are understaffed and overworked and they always need an extra set of hands." Pets are like family to a great majority of our population.  As living creatures, these pets need help.  Sometimes just a checkup, and sometimes something deeper, such as surgery.  Regardless of what they need, they are the animals we care about and so we want them to be taken care of. The world of veterinary medicine is a challenging one.  The volume of pets is increasing, the volume of veterinarians and technicians is decreasing.  The workload is simply too much for most people to bear for anything considered long term. But does it have to be this way? Isabelle Blaser is the incredible manager at Vet Receptionists, a company designed to lift much of the burden found in most veterinary clinics, by taking calls and helping reduce the workload of the overworked staff.  By doing this, Isabelle and her crew at Vet Receptionists are able to help their client's employees keep doing all they need to do, keep them sane and keep them happily employed. In this episode Isabelle shares the problems facing most veterinary clinics and the solutions that can turn a struggling practice into a place of happiness.  Though most veterinary clinics may not be struggling financially, mentally and culturally they are often a house of cards.  Many times without the doctors or clinic owners even knowing of the issues or demands being made on their team. Listen as Isabelle explains the need for improved customer service to allow your clients to be treated better, as well as your employees. Enjoy! Visit Isabelle at: https://vetreceptionists.com/ On Instagram: https://www.instagram.com/vetreceptionists/   Podcast Overview: 00:00 Supporting Overworked Vet Hospitals 04:20 Staffing Shortages and Owner Misunderstandings 08:15 Vets Avoiding Independent Practice 09:49 Veterinary Staff Experience Insights 13:12 Teamwork in Hospitals Explained 16:57 Veterinary Medicine: Broad, Demanding Expertise 19:31 Healing Through Puppy Care 23:08 "Clinic Growth and Staffing Strain" 28:08 General Practice Veterinary Hospital Size 29:58 Dominance of Market Software Leaders 34:05 "Veterinary Hiring Knowledge Test" Podcast Transcription: James Kademan [00:00:00]: What is Vet Receptionists? Isabelle Blaser [00:00:01]: Vet Receptionists is a remote reception service for veterinary hospitals. James Kademan [00:00:06]: Nice. Isabelle Blaser [00:00:07]: In short, that's. James Kademan [00:00:08]: That's cool. That's cool. Why is that important? Isabelle Blaser [00:00:11]: It's important because I'm sure you've been to a veterinary hospital sometime recently. The staff is more than you'd like to admit. I think it's just a nationwide thing that vet hospitals are understaffed and overworked and they always need an extra set of hands. That way they can take care of the patients that are in the hospital. Isabelle Blaser [00:00:29]: So that's where we come in. James Kademan [00:00:34]: You have found Authentic Business Adventures, the business program that brings you the struggle stories and triumphant successes of business owners across the land. Downloadable audio episodes can be found in the podcast link found@drawincustomers.com we are locally underwritten by the banks of Sun, Bank of Sun Prairie. Woof. Calls on Call, Extraordinary Answering Service as well as the Bold Business Book. And today we're welcoming, slash preparing to learn from Isabelle Blaser, at Vet Receptionists. So, Isabelle, how is it going today? Isabelle Blaser [00:01:04]: It is going just fabulous. How about yourself? James Kademan [00:01:07]: Sweet. It's going well. I'm excited. We're talking about veterinary receptionists. Let's just start there. What is Vet Receptionists? Isabelle Blaser [00:01:14]:

This week we talk about entanglements, monopolies, and illusory money.We also discuss electrification, LLMs, and data centers.Recommended Book: The Extinction of Experience by Christine RosenTranscriptOne of the big claims about artificial intelligence technologies, including but not limited to LLM-based generative AI tech, like ChatGPT, Claude, and Gemini, is that they will serve as universal amplifiers.Electricity is another universal amplifier, in that electrifying systems allows you to get a lot more from pretty much every single thing you do, while also allowing for the creation of entirely new systems.Cooking things in the kitchen? Much easier with electricity. Producing things on an assembly line? The introduction of electricity allows you to introduce all sorts of robotics, measuring tools, and safety measures that would not have otherwise been available, and all of these things make the entire process safer, cheaper, and a heck of a lot more effective and efficient.The prime argument behind many sky-high AI company valuations, then, is that if these things evolve in the way they could evolve, becoming increasingly capable and versatile and cheap, cooking could become even easier, manufacturing could become still faster, cheaper, and safer, and every other aspect of society and the economy would see similar gains.If you're the people making AI, if you own these tools, or a share of the income derived from them, that's a potentially huge pot of money: a big return on your investment. People make fortunes off far more focused, less-impactful companies and technologies all the time, and being able to create the next big thing in not just one space, but every space? Every aspect of everything, potentially? That's like owning a share of electricity, and making money every time anyone uses electricity for anything.Through that lens, the big boom in both use of and investment in AI technologies maybe shouldn't be so surprising. This represents a potentially generational sea-change in how everything works, what the economy looks like, maybe even how governments are run, militaries fight, and so on. If you can throw money into the mix, why wouldn't you? And if that's the case, the billions upon billions of dollars sloshing around in this corner of the tech world make a lot of sense; it may be curious that there's not even more money being invested.Belief in that promise is not universal, however.A lot of people see these technologies not as the next electricity, but maybe the next smartphone, or perhaps the next SUV.Smartphones changed a whole lot about society too, but they're hardly the same groundbreaking, omni-powerful upgrade that electricity represents.SUVs, too, flogged sales for flailing car companies, boosting their revenues at a moment in which they desperately needed to sell more vehicles to survive. But they were just another, more popular model of what already came before. There's a chance AI will be similar to that: better software than came before, for some people's use-cases—but not revolutionary, not groundbreaking even on the scale of pocketable phone-computers.What I'd like to talk about today are the peculiar economics that seem to be playing a role in the AI boom, and why many analysts and financial experts are eyeballing these economics warily, worrying about what they maybe represent, and possibly portend.—The term ‘exuberance,' in the context of markets, refers to an excitement among investors—sometimes professional investors, sometimes casual investors, sometimes both—about a particular company, technology, or financial product type.The surge in interest and investment in cryptoassets during the height of the COVID-19 pandemic, for instance, including offshoot products like NFTs, was seemingly caused by a period of exuberance, sparked by the novelty of the product, the riches a few lucky insiders made off these products, and the desire by many people—pros and consumer-grade investors—to get in on that action, at a moment in which there wasn't as much to do in the world as usual.Likewise, the gobs of money plowed into early internet companies, and the money thrown at companies laying fiberoptic cable for the presumed boom in internet customers, were, in retrospect, at least partly the consequence of irrational exuberance.In some cases these investors were just too early, as was the case with those cable-laying companies—the majority of them going out of business after blowing through a spectacular amount of money in a short period of time, and not finding enough paying customers to fund all that expansion—in others it was the result of sky-high valuations that were based on little beyond the exuberance of investors who probably should have known better, but who couldn't get past their fear of missing out on the next big thing.In that latter case, that flow of money into early dotcom startups did fund a few winners that survived the eventual bursting of that bubble, but the majority of companies tagged with those massive valuations went out of business in part because their valuations were based in part on optimism, hot air, and illusory financials.Which is to say, their financials were based on a lot of money being added to their account sheets and tallied in the places investors would see those numbers, but the numbers didn't mean what most people thought they meant.A company could receive tens of millions of dollars in orders, for instance, but that money and those orders might never be received and fulfilled, or that money might be mostly illusory: maybe it was borrowed from another company to spend on advertising, and that money would then go right back out the door, to the company from which it was borrowed, to pay for their ad services.That kind of arrangement could be beneficial, as the company doing the borrowing might give up a relatively small number of shares in exchange for money, which looks good on its balance sheet, especially if the money is given at a high valuation, even if that money was mostly just a loan from a company providing ad services, with the full knowledge that money would then be spent on their own ad services. And the ad company giving the money could usually afford to buy in at a high valuation, because it knows it will get that money right back, and when it does, it will get to record that money as income on its own balance sheets.So Company A gets millions of dollars from Company B, that money is then paid to Company B for some type of service, and both companies get to record favorable figures on their accounting sheets, as if real sales took place and real outside money changed hands, despite it being a circular move, with very little or no actual value being created.These sorts of relationships are also often good for investors in companies that do this sort of thing, because it makes their investments, the companies they've bought into, look even more valuable.Check it out, Company A, which I own shares in, is worth more than it was last month because of all the business it's conducting, and because this other company bought into it at a higher price per share than I paid! Even though that increase in valuation is predicated on circular financing, the numbers still go up, and they go up for everyone involved, so there's little reason to crack down on this not illegal, but shady behavior, and even less reason to want anyone else to know about it, because then they might not add their own money to the circular money-cycling, number-increasing machine.The major concern amongst some analysts right now is that the AI boom, especially in the United States, might be essentially this kind of circular cycle, but much larger than previous versions of the same.In the US right now, investment in AI infrastructure like data centers accounts for a huge portion of overall growth—the numbers vary, depending on who you ask and what numbers they look at, but some say that about 90% of total US economic growth, and around 80% of US stock market growth, are predicated on these sorts of investments this past year. Without these investments, the US economy would be basically flat, or worse, and the US stock market would be flailing as well.This situation isn't ideal whatever the specifics, as too much reliance on just one industry, or one small collection of industries dominated by just a handful of companies and their investors, makes for a precarious financial foundation.If anything goes wrong with just one company, the whole house of cards could collapse. And if anything goes wrong with the industry, things could get even worse, and fast. All that investment, all that construction, all those employees and all that money sloshing around could disappear, could stop being spent, could make all those numbers fall and fall and fall more or less overnight.If this industry is in fact in a bubble, and if it's being propped up by this kind of circular financing, where companies are fluffing up their own and each other's accounting books by rotating the same bundle of money and on-paper money from company to company to company, that would portend pretty bad things for the US economy and market, if anyone involved stumbles, even just a little.This is why recent deals between the biggest players in this space are raising so many eyebrows, and causing so much sweat to bead on so many foreheads.In September of 2025, ChatGPT-maker OpenAI announced it had formalized a $100 billion investment deal with AI chipmaker Nvidia, the latter expanding on its existing investment in the former. In October, OpenAI announced it was purchasing billions of dollars worth of AI hardware from Nvidia-rival AMD, and that it's taking a 10% stake in the company.Microsoft is already heavily invested in OpenAI, to the tune of $13 billion; it takes 49% of OpenAI's profits, and gets more than that until its original investment is paid back. Microsoft also accounted for nearly 20% of Nvidia's annualized revenue, as of the fourth quarter of 2025.Oracle, another computing company which has become hugely influential in this space due to its investment in cloud-based AI datacenters, has a $300 billion deal with OpenAI for future infrastructure buildouts and access, and OpenAI's Stargate datacenter project was co-funded by Oracle and SoftBank. Nvidia also owns part of CoreWeave, which is an AI infrastructure supplier for OpenAI, and which has Microsoft as a massively important customer.All of which is very…tangly. It's an interconnected mess, and OpenAI and Nvidia are at the center of it, but there are a lot of weak spots, threads that, if pulled, would cause the whole thing to unravel. Which is why this feels like such a dangerous setup to many analysts right now.Consider that in 2025 alone, OpenAI has made around $1 trillion-worth of AI deals. A lot of these deals are plans to invest: commitments to buy data center construction or the use of data center bandwidth, or they're financial ties with competitors, clients, and providers—companies that would otherwise be competing with, selling to, and buying from each other, rather than linking arms and creating financial and infrastructural interdependencies.Many of these deals are predicated on debt and what are generally considered to be over-inflated IPO valuations, too: money that isn't money in the traditional, accounting-book sense, in other words. Numbers that make activity, use, and income for these companies look a lot bigger than they concretely are, on balance sheets, which in turn helps their investment numbers go up up up.This dynamic has become overt enough that many of the biggest investors in AI companies, and the heads of said companies, like Sam Altman of OpenAI, have said, outright, that it's probably a bubble, and that a lot of companies will probably go under in the relatively near future. No one knows when, but it's a good thing, they're fond of saying, because that shakeout will kill off the deadweight, allow the survivors to scoop up their former competitors' assets at fire sale prices, and the whole industry will be further centralized around just a handful of the best and the most impactful, just like in the post-dotcom years. Monopolies and mini-monopolies, which, for the people creating and profiting from those monopolies, at least, seems like a good thing.That optimism glosses over what those in-between years look like, though, especially for smaller investors, employees who are laid off, en masse, and the folks who aren't profiting directly from the surviving business entities, and who see their stock portfolios collapse and overall growth in their country decrease.Most of the stories in the tech world right now in some way tie back to the promise and concerns surrounding AI. It's become such a big story because there's a chance it will be the next electricity, but there's also a chance the warning signs we're seeing are real, and things will get a lot worse before they maybe, possibly, for some people, at some point, get better.Show Noteshttps://finance.yahoo.com/news/a-20-billion-clock-is-ticking-for-openai-as-microsoft-talks-turn-fractious-130006071.htmlhttps://www.sfgate.com/tech/article/circular-deals-bay-area-tech-21089538.phphttps://www.theguardian.com/business/2025/oct/08/openai-multibillion-dollar-deals-exuberance-circular-nvidia-amdhttps://www.ft.com/content/950e3a36-7141-4426-b7c5-08fad5d83919https://finance.yahoo.com/news/very-troubling-ais-self-investment-spree-sets-off-bubble-alarms-on-wall-street-160524518.htmlhttps://www.cnbc.com/2025/10/15/a-guide-to-1-trillion-worth-of-ai-deals-between-openai-nvidia.htmlhttps://insights.som.yale.edu/insights/this-is-how-the-ai-bubble-burstshttps://www.bbc.com/news/articles/cz69qy760weohttps://www.nbcnews.com/business/economy/openai-nvidia-amd-deals-risks-rcna234806https://www.bloomberg.com/news/articles/2025-10-08/the-circular-openai-nvidia-and-amd-deals-raising-fears-of-a-new-tech-bubblehttps://flowingdata.com/2025/10/13/circular-deals-among-ai-companies/https://www.nytimes.com/2025/10/07/business/dealbook/openai-nvidia-amd-investments-circular.htmlhttps://sherwood.news/markets/analyst-a-lot-more-disclosure-needed-on-these-circular-ai-deals/https://www.barrons.com/articles/nvidia-microsoft-openai-circular-financing-ai-bubble-5d9a4e7chttps://www.investopedia.com/wall-street-analysts-ai-bubble-stock-market-11826943https://www.goldmansachs.com/insights/articles/ai-may-start-to-boost-us-gdp-in-2027https://finance.yahoo.com/news/most-us-growth-now-rides-213011552.html This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit letsknowthings.substack.com/subscribe

“We're sitting on the ultimate house of cards,” says real estate developer Mitch Vexler to Daniela Cambone. He details how a “$5.1 trillion school bond Ponzi scheme” using inflated home values is pushing the system to “terminal failure.” He warns of the outcome: “Can you imagine what will happen if a school district... shows up in mass to take over an entire subdivision of defaulted houses? Do you understand by definition that's an act of war? That's the problem. That's where this ends up.”✅ FREE RESOURCESDownload The Private Wealth Playbook — a data-backed guide to strategically acquiring gold and silver for maximum protection, privacy, and performance. Plus, get Daniela Cambone's Top 10 Lessons to safeguard your wealth (FREE)

El análisis con spoilers del séptimo y último episodio de Task, un desenlace lleno de tensión, heridas abiertas y decisiones que marcan para siempre. La serie cierra el círculo: Mave lucha por proteger a sus hijos, Grao busca redención a cualquier precio, y Tom comprende por fin que amar también es saber soltar. Entre huidas desesperadas, disparos finales y confesiones que llegan tarde, Task se despide con un capítulo que no busca giros vacíos, sino consecuencias emocionales reales. Todo lo sembrado explota en un último acto que mezcla justicia, culpa y esperanza. Puede que no todos obtengan perdón, pero sí una oportunidad de empezar de nuevo… o al menos, de dejar de huir.

Natalie Cochran seems to have it all: a stable career as a pharmacist, a loving husband, and two kids. But when she ditches her job to become a “government contractor” – and suddenly starts raking in cash – her life starts looking a little too good to be true. Behind the scenes, Natalie is running an elaborate con: one with fake government contracts, fake cancer, and a real trail of victims. When her house of cards starts to fall, Natalie will make a devastating choice that will turn her dream life into a nightmare.Be the first to know about Wondery's newest podcasts, curated recommendations, and more! Sign up now at https://wondery.fm/wonderynewsletterListen to Scamfluencers on the Wondery App or wherever you get your podcasts. You can listen early and ad-free on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. Start your free trial by visiting wondery.com/links/scamfluencers/ now.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

In this week's episode, we interview narrator Hollis McCarthy, who has narrated over 300 audiobooks, including many of THE GHOSTS and CLOAK MAGES. She is also co-author with her mother Dee Maltby of the MAGIC OF LARLION series, which you can learn more about at https://deemaltbyauthor.com/. This coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store: DRAGONSKULL25 The coupon code is valid through October 27, 2025. So if you need a new ebook this fall, we've got you covered! TRANSCRIPT Introduction and Writing Updates (00:00): Hello, everyone. Welcome to Episode 273 of The Pulp Writer Show. My name is Jonathan Moller. Today is October 17th, 2025, and today we have an interview with audiobook narrator Hollis McCarthy. Hollis has narrated many audiobooks, including numerous books from the Ghost and Cloak Mage series, so we'll talk with her about that. Before we get to our main topic, we'll have Coupon of the Week and then a progress update on my current writing projects. This week's coupon code will get you 25% off the ebooks in the Dragonskull series at my Payhip store, and that coupon code is DRAGONSKULL25. The coupon code is valid through October 27th, 2025. So if you need some new ebooks to read for this fall, we've got you covered. And as always, the coupon code and the links to my store will be available in the show notes. Now for an update on my current writing projects. As of this recording, I am 80% of the way through the first round of edits in Cloak of Worlds, so making good progress and if all goes well, the book should be out before the end of the month. I'm also 14,000 words into Blade of Shadows, which will be my next main project after Cloak of Worlds is published, which means I also have to write the outline for Elven-Assassin soon, and that will be the fifth book in the Rivah series. In audiobook news, recording will be underway next week for Blade of Flames. That will be narrated excellently by Brad Wills. Ghost in Siege is now out. It should be available at of all the audiobook stories (except Spotify) and it should be available there in a few days. And that is the final book in my Ghost Armor series that is excellently narrated by Hollis McCarthy. So that is where I'm at with my current writing and audiobook and publishing projects, which makes for a good segue into our main topic, our interview with Hollis McCarthy, which begins now. 00:03:56 Interview With Hollis McCarthy Hi everyone. I'm here today with Hollis McCarthy, who is a classically trained actor. Hollis has played leads in regional and off-Broadway theater, specializing in Shakespeare. On CBS. she's been a recurring guest star judge on Bull, the president of Ireland on Bluebloods, and a senator on Netflix's House of Cards. She's narrated more than 300 books for a variety of publishers and is the proud co-author of her mom Dee Maltby's epic fantasy series, The Magic of Larlion. Hollis, thanks for coming on the show today. Hollis: My pleasure. Jonathan: So to start, can you tell us a little bit about yourself and how you got into acting and performing? Hollis: That's a great question. I think it all started with doing my little brother's Sesame Street finger puppets. He's 10 years younger than me, so I mean, I got to reread all my favorite books with him and I started voicing the finger puppets to Burt, Ernie and Cookie Monster and all those guys in the backseat of the car and playing all the characters. And then my brother went into theater. My other brother's seven years older than me, and I used to go see his shows up at the college when I was in high school and kind of fell in love with it there. I absolutely meant to be an aeronautical engineer/physicist like my dad, but it didn't end up working out. I fell in love with theater and went to Stratford. I had a dual major because I was in an honors program, so I didn't have to declare a major until my fifth year of undergrad. But then I went to Stratford up in Canada and I saw two Shakespeare shows in one day and that was it. I had to do that. That was what I loved. Jonathan: Well, since we've had many audiobooks together, I'm glad it worked out that way. Hollis: Me too. Yeah, so I got my BFA in acting, and then I got my MFA from the University of Missouri-Kansas City in performance, and I was lucky enough to have some great coaches from the RSC and did a bunch more Shakespeare, and I've done that regionally a lot. And then I fell into audiobooks because I got tired of traveling, and I love to work from my home in my jammies. Jonathan: That is the dream. Speaking of that, could you tell us a bit more about how you sort of got into audiobooks or ended up doing a lot of that? Hollis: Yeah. Well, again, it starts with my childhood. My mom, who was a writer and an artist, she had, there were five of us kids and she would read out loud to us in the kitchen to keep us from fighting when we were cleaning up. So she started with Tolkien and Watership Down and Narnia and all of that. And then I got to, like I said, read to my little brother all my favorite books. And so I started doing all different voices for the characters and I always thought that was normal until, of course I volunteered to read in class in high school and people thought I was some sort of freak, but I always loved playing all the characters. And so when I started looking at staying home more and what could I do to work from home instead of being on the road for work, which was great for a long time, but then at some point you want to stay home and have a life as an actor as well as doing what you love. And audiobooks seemed a good fit. So my husband, who's also an actor, took a class from Paul Rubin here in the city in New York. We live in the New York area now. And he got a bunch of good tips from that that he passed on to me. And then my agent got me an audition with Audible and Mike Charzuk there. I came in and read a couple of pieces for him and he came back to the booth with a book he wanted me to start on. And from there I just kept building and got a lot of great indie authors through ACX like you. I don't know how many books we've done together now. Jonathan: It's over 30, I think. Yeah, 30 over the last seven years. So it's been a while. Hollis: And you're seriously, I mean, I'm not saying this because I'm on your blog, but your series are absolutely my favorites, especially because, yeah, the two series that I do, one is Nadia from the Midwest like me and then the other one with Caina, the epic fantasy world, which uses all my British and Irish bits and I absolutely love them. So yeah, I've just kept building up, getting in with a few more publishers now, which is harder to do and I just love it. Our first booth, when the pandemic hit, we had to build a booth at home and I had been going to studios in the city up until that point, but it hit pretty suddenly. It was obvious on St. Patrick's Day when it was like us going to the studio and people who were absolutely desperate folks were the only other ones on the street. We had to stay home. So my husband took our rapier blade (we fight with swords. We're actor combatants, like you said). He took two broadsword blades and a rapier blade, and he's handy with carpentry, fortunately. That's how he worked his way through school. He bracketed those to the wall and we ordered through Amazon before they kind of shut down too. We ordered packing blankets to hang over them and I ordered a new microphone and a new interface and it was trial and error for a bunch of days. And we had an engineer on call who talked us through how to run the software programs and stuff, how to set them up. And from there I've just kept recording at home. I sometimes still go into the studios when they have a budget where they can spring for a studio, but mostly they want you to work from home these days. So that's mostly what I do. Jonathan: Oh, building a recording booth out of swords. That's very Caina. Hollis: It's very Caina. I love Caina. Caina is me as a young woman. If I had been a superhero, I would've been a Caina. All my favorite roles in Shakespeare were the girl as boy ones. You asked, one of my favorite roles in theater was when I was at Alabama Shakespeare and I was playing Queen Elizabeth in Richard III and dressing in gorgeous gowns and being very seductive and very powerful and manipulative and all that. But in the earlier scenes, we did the three plays and in the Richard III and the Henry VI we did all three. And in the earlier scenes where Elizabeth wasn't in, I got to dress up and doublet and hose and I like stippled some stipple of beard on my face and climbed a siege ladder with a sword in one hand and did a spectacular pratfall running away from the bad guys and would slide on my stomach on the deck of the stage and I would come out into the lobby and the other guys who were playing my fellow fighters would be holding up rating cards for how far I'd slid that day. Jonathan: Sounds like very practical cardio. Hollis: Yeah, very. It was a lot of fun. That was probably my most fun I've ever done, though I also loved Beatrice and Much Ado, which I got to do twice because she's just so funny and witty and passionate. She's great, and Shakespeare, you know. Jonathan: Very good. So after all these audiobooks, what goes into preparing to record an audiobook? Hollis: That's a great question, too. It depends on the book, really. And I'm lucky enough to do a lot of series now, so when you're doing a series, it gets easier as you go along. I remember with the first ones I did for you, the first Caina, it probably took me an hour of prep to get through the first chapter. There were so many made up place names that I needed to figure out how to say, and then you have to be consistent. Even if they're made up, you still have to be consistent. So I really used my theater training there because I learned the international phonetic alphabet when I was in school, and so I can write down phonetic pronunciations and for each book, I'm old school with my prep, I'll keep a legal pad and I'll write down phonetic pronunciations, the word, page number, and the phonetic pronunciation for each word, so I have a record. You don't retain them from book to book. Pronunciations is a big part of what you do. Also, character voices, because again, you want to be true to the author's intent and you want to stay consistent. Again, for Caina, it became very complicated because you had to have Caina's basic voice, which is this [speaks in Caina's voice]. She started out a bit higher because she was younger. And then as she aged, she's gotten more medium pitch-wise, but then she was in disguise as various people. She was disguised as a cockney guy for a while, and she was an Irish guy for a while. And so for each of those personas, you have to notate for yourself in the script. Oh, now she has this accent. Now she has this one. And really for each chunk of dialogue, every time a character speaks, I'll put the initial of their name and if there are a lot of characters in the scene, I will have to differentiate between them pretty frequently. If it's two characters and I know them both very well, then I kind of have the shorthand in my head. So the different character voices I also put on my legal pad so I have a record, so Calvia sounds like this [speaks a line in the character's voice]. And sometimes I'll write down physical aspects of them so that I can just kind of feel the character. And after I do them for a while, the feel of the character will give me the voice and you write down everything that the author says about the character too. I'll just notate for myself that will oftentimes give you the voice. If it's a good author, which thank God you are, you write in different voices, which makes my job easier. Jonathan: The joke I sometimes say is I didn't do audiobooks for the first seven years I was publishing, and people would ask me, how do you pronounce this? I say, I don't care, pronounce it however you want. And then suddenly we started doing audiobooks and suddenly no, it matters very much how it's pronounced. Hollis: Yeah, exactly. It's funny, I'm just looking at my tablet. I have your Shield of Power up on my tablet. I've been reading that on the treadmill and at lunch. But yeah, we have to keep tabs. And when we have so many books now, I've started special folders just for the Ghost series and the Cloak series because a lot of times a character will show up from several books previous and I go, I remember them, but I don't remember what they sounded like. So I will have notated forward alto, slightly Irish or something like that for them. I have shorthand for all of it, and so I'll do that. Jonathan: Yeah, I spent a lot of time with Control + F searching through Word documents, trying to remember the first time I wrote this character and what they looked like. Hollis: Yeah, I bet you do. Some writers I guess do, well, if they don't do it all themselves. And if they have somebody who's like an administrative assistant, they have somebody who gives you, I've gotten these from authors before. Their assistant will send me a story log of characters with everything that's said about the character. I'm like, oh, well, that's very organized and helpful, but I would think it would be massively time consuming. Jonathan: It is. I did hire someone to help me with that this year. It was getting to be too much to go back and search through things and it is a very time consuming project, but once it's done, it's very helpful because it's quite easy to find things and look things up and refresh your memory. Hollis: I bet so. When I was working on my mom's books, we hired an editor and she did a spreadsheet, a database kind of different terms and characters and what was said about them. And I go back to that and amend it all the time now that I'm trying to write book eight. Jonathan: Yeah, that kind of thing is very helpful. But on a related topic of preparation, since you've done audiobooks, stage, and TV, how would say narrating audiobooks is different from the experience of doing theater or TV? Hollis: The major thing and the hardest thing for me when I was starting out was you can't move around all the time. I had an engineer at Audible. It was just, and a lot of times the chair is very important because if you move, what you're bound to do, if you're producing your voice correctly, you need to sit up and you need to use your hands to express yourself, and you have to have an absolutely silent chair. And the chairs at Audible at that time, were not absolutely silent. So every time I moved, the chair would squeak and we'd have to stop and start again. So that was very, very hard for me. In fact, I've been doing so much audiobooks now, and I also do TV and film, but that's gone to all for auditioning for that. It's all self tape, which means it's just like head and shoulders, so still you're just kind of using a little part of your body. And I had a theater callback for Pygmalion in the city the other day, in person, in a studio, in a rehearsal room. The day before, I used to do those all the time, and that's so rare now for them to do in-person auditions since the pandemic. But I put on my character shoes and my skirt and I practice just being bigger, opening my body up and doing all this stuff I learned to do in school and that you do when you're on stage to own the space because the space is the back wall of the theater. And that's a big difference between theater, film, TV, and audiobooks is the scope of it. When I did Beatrice, I was in an 1,100 seat unamplified stone amphitheater outdoors in Colorado. So you can imagine the scope physically and vocally is so big. And then for TV, film and you have to what they say, reach the back wall of whatever space you're in. Well, for film and TV, the back wall is the camera. It's right in front of your face a lot of the times. And the back wall is really kind of the inside of your head. It's almost like you have to have internal gaze so that the thoughts are just happening. You don't have to project them, you don't have to project your voice because all the equipment comes right to you, and all you have to do is feel the feelings and think the thoughts and the camera and microphone picked that up. Similarly with audiobooks, I'm just in a little tiny padded booth. My microphone is just a few inches from my face, and so I could be very, very intimate and everything gets picked up, and you have to do a lot less work for the emotion to come through. Again, really all you have to do is kind of feel the emotion. And for me, that's always for me is being in the moment and feeling the moment and letting that dictate the pace and the vocals and everything. I guess I'm pretty Method. I'm very Method, but that's how I trained. It's what works for me. Not every narrator is like that. There's a million different proper ways to narrate, and that's just my take on it. But everything is right there. So it's just kind of keeping it much smaller and more intimate. And in fact, when you want to be big like [character name's said in the character's] voice and he was yelling a lot, and I would have to pull back from the microphone to let his scope come out. Jonathan: Well, after 30 audiobooks together, I can say that method definitely works. Related to that, as we mentioned earlier, you're now at over 300 titles on Audible over the last 12 years. Congratulations for that. What would you say is most surprising or unexpected things about audiobooks you learned during that time? Hollis: Oh, well, it was very surprising that we could make a booth out of sword blades and blankets. That surprised me. Yeah, that's a great question. It's surprising to me how simple I can be. I went back and I had an author recently who wanted me to do a new chapter to begin and end a book that I had done like 2014, something like that, shortly after I started. And I thought at the time that I was really filling these voices and what I did was fine. You're always your own worst critic. But what I've discovered now is the more you do it, the more you record, the more you use your instrument every single day for 300 some books, the more effortless it becomes and the more depth you can bring to it. And as a young actor, we always resist that. My acting coach used to say, age and experience. There's no substitute for it. I'm like, yeah, yeah, but talent and hard work, that's something. But it's really true that just the repetition, there's no substitute for it. Those chapters that I did, they were the same voices basically. But when I went back and listened to the original, I was like, oh, it surprised me how without really changing anything mechanically, the work has just gotten deeper, more effortless, but it sounds better at the same time. Does that make sense? Jonathan: It does. Because you've probably noticed I've redesigned the covers for the Caina series like seven times over the last 10 years. And every time you think this is it, this is it. I'm done. This is good. And then with more practice, you look back and think, well, maybe I can improve this again, though. I suppose that's not often something that happens in the audiobook world where you get to go back and revisit something you did previously. Hollis: That is one of the hardest and most surprising things about audiobooks. And I've heard people say that this happens to every young narrator when they're starting out, you get through the first two chapters of a new book and you go, oh God, now I get it. I want to go back and start again. Well, there's no do overs with audiobooks. With audiobooks, “done is good” is what they always tell you when you're starting out. So even in film and TV, which you don't get much rehearsal for, you get a couple of run run-throughs, but with audiobooks, you got your prep. Not everyone does, but I always read the whole book before I start if possible, because otherwise you get surprises. But you get your one read through, your prep, and then you go and yes, you can stop. You can punch and roll, edit over. If you make a mistake, you go back half a line, you start again there. But there's no evolution of the work, which is what's great about series too, I think, because with the series you get, yeah, Caina was here last time I did her and now she's going through something new. And then the character grows and it becomes less and less effortful, but it also becomes like someone you really know so that it gets so much deeper and it's so much more fun to play with. Jonathan: That makes sense. 12 years really is a long time to have done audio narration or anything. So what do you think is the key to sticking it out for audiobooks for the long term? Hollis: Well, a lot of things make a difference. I didn't do it before this interview, which is why my voice is kind of rocky, but I always warm up in the morning when I'm setting up a session. I always do a vocal warmup. You got to get a good night's sleep, you have to drink water every couple of pages. I have a tea that I drink that keeps my stomach quiet because stomach gurgles is another bad thing about audiobooks. You have to eat very carefully and drink tea to keep your stomach quiet. You don't want to have to stop every time for that. And a lot of training, a lot of vocal training. I had Linklater training and the Lavan training, and Linklater to me is the most useful. And a lot of the stuff that applies to Shakespeare applies to audiobooks too. You warm up, you get yourself breathing, you warm up your resonators, your sinus, your mask resonators, the back of your head, your chest resonators. For the men [imitates male voice], you really have to have your chest warmed up, get the vibrations going here. And so I get all that kind of going before I sit down in the booth. And that also keeps you, then you keep your throat open so you're not hurting yourself. You have to have good posture so that the air can move from your diaphragm up to your throat and have it be open. And then optimally, like with Caina, Caina has a lot of mask resonance. Brits do; they are very far forward. So you really have to have all that warmed up and then that has to have no impediments between the front of your face all the way down to your diaphragm where the breath originates. And if you can do all that, then you could be an audiobook narrator. Also diction. I warm up my diction to everything from [imitates several vocal exercises] in just to get your mouth moving. You don't want lazy mouth with, there's a lot of enunciation in audiobooks that's important. But I also don't like, I really hate when you hear people enunciating. I don't like that. And with Caina, even though she's upper class, she's not like that. She's not pretentious. And certainly Nadia, you want to be able to understand what she says, but you don't want her to be enunciating. That be weird. So all of all that stuff I worked on in grad school and did all the Shakespeare plays, I would always get to the theater an hour early. You have to be there half hour for makeup and check in, but I would always get there an hour early and do at least 15 to 20 minutes of physical and vocal warmups. And so those habits have really helped me. I think I have pipes of iron, fortunately. I'm very lucky. So all that stuff really matters with audiobooks. Jonathan: It's amazing in how many different fields of life the answer seems to boil down to do the things you're supposed to over and over again forever. Hollis: Exactly. That's really true. When are we going to get old enough that we don't have to do that anymore? [laughs] Jonathan: Just one side question. What is Linklater training? I don't think I've heard that term before. Hollis: Oh, Kristen Linklater is, she's probably the biggest American vocal coach. She has a lot of books out there about voice and the actor and all of her training stems from allowing the breathing to drop in as she calls it, not forcing it to drop into the diaphragm, and then creating a pool of vocal vibrations that go from the diaphragm through an open throat to the resonators. And you can use every resonator in your body to project that sound. When I was doing Beatrice and Gertrude at Colorado Shakes in that unamplified stone amphitheater in the foothills of the Rockies, there was winds that would come down out of the mountains when we were on stage, and that theater was known for eating women's voices. And I had to thank God the vocal coach that summer was a Linklater coach, which is the method that I trained in, and he helped me work with even resonators. If you can imagine in your back, just using the whole chest box and shaking the vibrations through your body so that basically you're making your whole human skeleton an amplifier for the vocal energy coming from your breath. And that's Linklater. She's fascinating. If you ever want to study voice, you can't do better than Linklater, to my mind. Cicely Berry is another one I studied. She's the British guru for the RSC and the Royal Shakespeare Company and all those people, and she's great too. Jonathan: Well, that's just exciting. I learned something new today. Hollis: That's always good. Always learning from your books too about Medieval combat. Jonathan: We always want to learn something new every day, whether we like it or not. Hollis: Right. Jonathan: So to turn it around a little bit, what advice would you give a new indie author who is working with a narrator for the first time? Hollis: Oh yeah, I actually, I made some notes. I thought that was such a good question. Make sure that your narrator knows what you expect from them upfront. If you go through ACX, they have this great thing called the first 15 where your narrator is, if you're new to this author, you record the first 15 minutes of the book and you put that on ACX for your author to listen to and approve. You don't have to approve it if you don't like it. And in fact, if you don't like it, it's very important you don't approve it and you tell your narrator specifics about what you need them to change before they go on with the book. Because what you can't really do is once a book is recorded, say, oh, I really don't like it. I'm not going to pay you for it. I need you to go back and do it again. That's not acceptable and it will make narrators never want to work with you. But what's great about the first 15 is you have that chance to say, well, this voice was, she was a little higher than I wanted. I hear her in my head more as an alto because for me as a narrator, what I want to do is I want to take what you, Jonathan, hear your characters being as you're writing them in your head. I want to take that and translate that into an audiobook for you. So the more you give your narrators information about your characters, the better they're going to voice it. Also, if there's a style in your head, like with Nadia books, there's a little touch of noir there. It was a dark and stormy night kind of feel. If there's a style you kind of hear in your head, that would be a good thing to give them. But ACX has also, I think a character sheet where you can tell them about the different characters. You can fill that out for your narrator. That's tremendously helpful, age of the character, if you hear a vocal pitch range, soprano, alto, tenor, bass, any dialects, they need to know that. The narrator's nightmare is you finish up a book and you shouldn't do this, you should read ahead, but you get to the last line: “I love you, darling,” he said in his beautiful French accent. Jonathan: It explicitly shows up there for the first time. Hollis: Exactly. And then for the narrator, it's like, oh my God, I have to go back and rerecord everything this guy said, which is hours and hours and hours of work for you and your editor who will kill you. But yeah, let them know about all the character traits that you can and just, I think it's on the narrator too, to, I've been lucky with my authors, we always have a good give and take. I come from a theater background and you want to collaborate. You want to realize the author's vision and you want to be a partner in creating that. So try to be partners and give them more information than you think they need and use that first 15. It is totally acceptable to send it back and say, I'm going to need you to do this again, and I'm going to need these changes. And then once you get that ironed out, then you'll probably be ready to go ahead and have a book. And when you get the book, you won't be shocked and you'll be happy (hopefully) with the read. Is that helpful? Jonathan: It does. New authors, if you're listening to this, listen to that advice. Hollis: Yeah. Jonathan: Now for a slightly different topic, can you tell us about the Magic of Larlion books and how you ended up publishing that series? Hollis: Yeah. The Magic of Larlion is an epic fantasy adventures series seven, almost eight volumes. I'm working on finishing book eight now. The first book, Wizard Stone, my brilliant mother Dee Maltby started years and years ago, probably, gosh, maybe 20 years ago now, I think when my little brother moved out from home and she had an empty nest and she had more time to write, and she wrote Wizard Stone, and she sent it out a few places, and that was the only way you could get published back when she wrote it and didn't pursue it, she got discouraged, I think, by rejections from publishers, sat in her drawer for a while, and my sister-in-law, Dana Benningfield, who's also an actor, and she was my best friend even before she married my brother. I introduced them. So yeah, that was all me. She was an editor professionally for a while, and when she moved to Ohio where I'm from and was living with my brother and my parents lived right across the orchard, I told her about this book. And she wasn't editing at the time, she was kind of done with it, but she asked mom if she could read it. So she read it and edited it, and then it became a much better book and really encouraged my mom to keep writing, which I had been telling her to do for years. But hearing somebody who wasn't family, somehow giving her that input that it was really something special, changed her perspective. So she kept writing and she and I started, I was on the road doing Shakespeare a lot. We started trading chapters. She'd send me a chapter a week and I would edit it and send it back. And so Wizard Stone evolved from there into its current form, and then she started the next book, Wizard Wind and Wizard Storm. And we went that way through five and a half books. And my dad finally, when he retired from being a physicist, said he was going to, I always told you I'd get your published Dee, I'm going to take it down to the print shop and get a hundred copies made. And by this time I was working with you and a bunch of other great indie authors who were letting thousands of happy readers read their books through an independent platform. And I said, well, wait a minute. I could do better than that. So I convinced them to hire an editor that I had worked with, and I did the rewrites and got it through the pre-production process and hired a cover artist, very talented artist. And you and Meara Platt, another of my authors, gave me so much information and help. And we got it published in 2022, I believe. We had three ready to go. And we published those all within a month of each other. One a month for three months, and then four and five, and then six came. And I co-authored five, six, and seven because my mother was losing her sight and her hearing at that point. We got those done. We had six out and a lot of people reading them and loving them and reviewing them before my mom passed. And I think it's probably one of the most satisfying things I've done in my life, because not only do I love the books, and they're just a rip roaring, fantastic adventure-filled epic trip through this incredible world my mom invented. But when she was about to, one of the last things she said to me was, I told her how many people had read her books. I just went through the Kindle numbers and thousands of people in different countries and all over the world were reading and loving her books. And I told her that, and she said, that's all that matters. And she felt such a sense of pride in herself and accomplishment because they were being received for what they are, which is a brilliant creative flight of fancy, this magical world in the tradition of all the books she loved, always Tolkien. And so I promised her I'd finish it. So after she died, I published six and seven and I've got eight about 90% written now, and I'm hoping to bring that out by the end of the year, although I've been too darn busy with narration to really spend the time. I've got the big climactic Jonathan Moeller type battle at the end sketched in my head and on an outline, but I got to write that. And then we can get that out there and finish that too. Jonathan: Will you stop with eight or keep going after eight? Hollis: My feeling is that this series will culminate with book eight. It's been a long saga of Beneban, this young wizard who kind of gets flung off a mountain by his evil wizard master and has to master his fledgling wizardry powers and his magical sword to win his love Laraynia, a powerful sorceress, and save the kingdom. And that's book one. And there's ice dragons, and then they have kids, and then the later books have become much more about their kids. And the more I write, the more it's become about young women fighting with swords. Jonathan: Well, they say write what you know. Hollis: Defeating the bad guys. Plucky young women, overachieving, competing with men. And so I think that's all going to come to a head with book eight, and that will be the end of that series. But I do think I'm going to spin it off into possibly more on the younger characters. I don't know if it's going to be YA per se, I think it'll still be for adults, but more of a YA feel to it, the younger characters of the ice dragon riding school of battle and the wizarding school. I don't know if I want to make it schools necessarily, it might limit you too much. And that's kind of been done too. But I do think the ice dragons are going to figure largely in it. Oh, and I don't know, there's a plot point I probably shouldn't give away, but my mother's full name was Willa Dee Maltby. She writes under Dee Maltby and there is a character, a very magical character named Willa that shows up in this book eight. So I think Willa will be a big character going forward and the younger generation of women and some boys too. I like boys, I do. Jonathan: Well, I suppose if people want to know more, they will have to read and find out. Hollis: Yes. And please go to the website is deemaltbyauthor.com and everything you want to know (well, maybe not everything), but everything you can know for now is there. Jonathan: Well, I was going to ask you what you would say was the most rewarding things about publishing the books, but I think you covered that pretty well. On the flip side, what was the biggest unexpected challenge in publishing them? Hollis: The PR is hard. You seem to be great at it. I even did PR professionally to work my way through undergrad and then in between grad school and undergrad and after I graduated and I had an assistantship in it at my university. But the book world specifically is a whole different kind of PR and learning Amazon ads and Facebook ads and it's a lot. It's a lot. And again, you have been so helpful with it. And I mean, there are a lot of online resources out there too, which is great. But what I'm really finding, trying to do it part-time is overwhelming. You really need a full-time block of time to not only write the books, but then to publicize them the way they deserve to be publicized. Jonathan: Yeah, the tricky part is, as you said, book advertising is very different from anything else. I was talking with a guy who is an Amazon reseller for various toiletries and hygiene products and makes a good living doing that. I was telling him how much I pay per click on Amazon ads. He's just appalled. It's like, you can't make any money doing that. And then the flip side of that too is that Internet marketing is so different than any other form of PR, so it's just sort of constant challenge there. Hollis: I know, and I know I actually signed up for a TikTok account and I just don't, again at the time. Plus every time I turn it on, I'm like, I don't want to watch that. I'm allergic to the format. You'd think being an actor, being used to being on camera, I could come up easily with little things to do for the books and I probably could for TikTok. But again, just learning the platform and then applying yourself to it is just such a big time hack that I don't have that amount of time. I know that narrators are now more and more marketing themselves by recording themselves on camera narrating and putting that out there, which I can do, I guess. And that's why I got this ring light and everything. I can do that now. I haven't done anything with it, but I guess if some of the book work dries up, I'll be more motivated to do it. Jonathan: Well, that's how anything works. You try it and if you enjoy it and it works, keep doing it. And if you don't enjoy it and it doesn't work, no point in carrying on with it. Hollis: I think that's true. And you just have to keep learning too, as we know with everything. You got to keep learning new things. Jonathan: Well, this has been a very enjoyable interview and thank you for coming on the show. Hollis: My pleasure. Jonathan: Let's close out with one last question. You've obviously done a lot of theater, so what, out of all the productions you've done was the one you would say was your favorite or that you enjoyed the most? Hollis: I think I have to go back to Beatrice probably. I mean, the Alabama Shakes getting to play a man thing, that was a lot of fun. But Beatrice, we did a Wild West Much Ado about Nothing at Colorado Shakespeare. The premise was that I was the niece of Leonardo, who is the tavern keeper, the bar keeper in this Wild West world. And there was a bar fight opening this Wild West production, and I entered through a swinging tavern door with a six shooter in one hand and a bull whip in the other. And I shot the pistol and cracked the bull whip and broke up the fight and then got to do Shakespeare's incredible Beatrice and Benedict story from there. It was so much fun. Jonathan: It almost seems like the soundtrack could have been “I Shot the Sheriff.” Hollis: Yeah. Yeah, it really could. It was a heck of a lot of fun. Jonathan: Well, speaking of fun, it was good talking with you, and thank you for taking the time to be on the show. Hollis: Yeah, I am excited to start the next Cloak book soon. So I was going to offer to do a little snatch of you want the introduction for Cloak here? Jonathan: Oh, I think we'll save it for the Real Thing. Hollis: Oh, okay. All right. Well thank you, Jonathan. It's been a pleasure. Jonathan: It's been a pleasure. And see you soon for Cloak Mage #10. Hollis: Alright. So that was our interview with Hollis McCarthy. Thank you for coming on the show and giving us a very informative and entertaining interview. A reminder that the website with the Magic of Larlion books is deemaltbyauthor.com. So that is it for this week. Thank you for listening to The Pulp Writer Show. I hope you found the show useful. A reminder that you can listen to all the back episodes on https://thepulpwritershow.com. If you enjoyed the podcast, please leave your review on your podcasting platform of choice. Stay safe and stay healthy, and we'll see you all next week.

Desde la jura de la nueva presidenta, en la embajada americana en Londres, California… C.J. Navas, Jorge y Don Carlos repasan la actualidad seriéfila de los diferentes canales, cadenas y plataformas, los estrenos de los próximos días, las ficciones más vistas por su audiencia, contestan a las preguntas de los oyentes y dan sus recomendaciones habituales de cada semana. Recomendaciones de la Semana: Don Carlos: Profesor T / Marlee Matlin Jorge: La suerte / El centro / Poquita Fe CJ: The Last Frontier: conspiración en Alaska / John Candy: Yo me gusto / Bookish ¡Esperamos tus audiocomentarios!: Mándanos tus mensajes por WhatsApp al +34 604 41 64 49 o a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fueradeseries.com/mensajes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Vota en los Power Rankings: Participa en la elaboración de nuestros Power Rankings votando a tus series favoritas de la semana en: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fdseri.es/33u15eb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

On this weeks episode Daniel, Sherman and Slothy talk about a new naya commander. Miles Morales transforms to become the ultimate spider-man, a counter doubling monster with built in protection. This deck utilizes lots of budget counter options to take advantage of the ability to double each type of token. This deck seems like a blast to play. Let us know what you would put in this list ? Deck list belowhttps://archidekt.com/decks/15255887/miles_morales Patreon: https://www.patreon.com/Intothe99Go to house of cards for the best place to grab your singles! Use the promo code IT99 for a discount! Supports a great shop, saves you money and supports the show! https://houseofcards.ca/Check out these amazing sleeves ! Ai Armor is the best in the game and if you click the link below you can get some amazing new designs. Support an awesome company and support us in the process!https://www.amazon.com/stores/AiArmor/page/E772952B-3C23-4BE5-AA38-81B49CA42450?maas=maas_adg_2D6C4AC19673AFF658FDF6AD59314A37_afap_abs&ref_=aa_maas&tag=maasIf you want awesome audio equipment buy Rode ! Our affiliate link is below!https://brandstore.rode.com?sca_ref=6254570.6h6a2qaxNBWe have new merch! Make sure you check it out!teespring.com/stores/intothe99    Intro musicIntro Music by:Track: Hollow PurpleMusic from: Daniel RudeOutro music Music: www.purple-planet.com  The Instagram for slothys band !https://www.instagram.com/necrotic_spew?igsh=dzJpY3ByMzd4ejJ2The instagram and YouTube for Daniels music https://www.instagram.com/danielrudemusic?igsh=MW5xa3JrbGNvdm9xbw==https://youtube.com/@danielrudemusic?si=IBRTawXFJRoQS0xchttps://www.instagram.com/theskysmiledback?igsh=a3BreTJ1NXVjcmdmhttps://youtube.com/@theskysmiledback?si=xquejMSFoJDUaA2v     The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts Spotify The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the show

C.J. Navas conversa Daniela Ramírez y Pablo Díaz del Río, protagonista y creador de “Isla Oculta”, la thriller de ciencia ficción chileno que se presentó en Iberseries y podrá verse en Serielizados Fest el próximo Noviembre, sobre el largo proceso de desarrollo de la serie, el rodaje en la Patagonia y su experiencia en España. Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers Mr. Scorsese, la nueva docuserie de Apple TV+ dirigida por Rebecca Miller que repasa la vida y la carrera de Martin Scorsese en cinco episodios. Pero esto no es un simple repaso cronológico ni un tributo hagiográfico: es una conversación abierta y sincera con uno de los grandes maestros del cine. Con entrevistas a amigos, colaboradores y familia, y con el propio Marty al frente como narrador incansable, esta serie nos descubre al cineasta... pero también al hombre que hay detrás de la cámara. Estreno: 17 de Octubre Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

From walking on literal fire to watching crypto's $19 billion "house of cards" burn to the ground to AI erotica… The guys have a lot to unpack this week as they debate abandoning ship for the AI gold rush and recap their wild experience with Tony Robbins.Welcome to the Alfalfa Podcast

Analizamos sin spoilers la tercera temporada de The Diplomat, el elegante y adictivo thriller político de Netflix protagonizado por Keri Russell. Esta nueva entrega llega con más tensión internacional, conflictos personales explosivos y una química en pantalla que arde a fuego lento. Con un ritmo impecable y diálogos afilados, la serie se consolida como una de las propuestas más sofisticadas y sensuales del panorama televisivo actual. ¿Está a la altura de sus temporadas anteriores? ¿Qué significa el cambio de poder para Kate Wyler? Y lo más importante… ¿qué hacen tan bien que no podemos dejar de verla? Sinopsis: Tras los convulsos acontecimientos de la segunda temporada, el panorama político internacional da un giro radical. La repentina muerte del presidente Rayburn sitúa a Grace Penn en la presidencia de los Estados Unidos, al tiempo que las sospechas sobre su implicación en un atentado terrorista persisten en la opinión pública. ESTRENO: 16 de Octubre. Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

C.J. Navas conversa con Álvaro de Cózar, creador de 'La última llamada', la serie documental de Movistar Plus+ que se estrena este 16 de Octubre, sobre la complejidad de poner en marcha la producción, la preparación del guion y el proceso de edición o cómo fue la presentación en Espacio Fundación Telefónica con la presencia de sus cautro protagonistas. La serie repasa en cuatro capítulos las vivencias más reveladoras de Felipe González, José María Aznar, José Luis Rodríguez Zapatero y Mariano Rajoy, desde su llegada a La Moncloa hasta los momentos más críticos de sus mandatos. Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers 'Muerte en la familia Murdaught', la nueva miniserie de Disney+ que retrata uno de los casos más impactantes del true crime americano reciente. Ocho episodios de drama, actuaciones de altura y una historia real que todavía nos cuesta creer. Sinopsis: Maggie y Alex disfrutan de una lujosa vida de privilegios como miembros de una de las dinastías legales más poderosas de Carolina del Sur. Pero cuando su hijo Paul se ve involucrado en un accidente de barco mortal, la familia se enfrenta a una prueba como nunca se habían encontrado. A medida que salen a la luz detalles y surgen nuevos retos, las conexiones de la familia con varias muertes misteriosas plantean interrogantes que amenazan todo lo que Maggie y Alex aprecian. ESTRENO: 15 de Octubre Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

C.J. Navas conversa Hernán Caffiero, premio Emmy Internacional por 'Una historia necesaria', sobre su nueva serie, 'Raza Brava', que presentó su trailer en la pasada edición de Iberseries Platino & Industria, y tiene previsto su estreno en 2026. 'Raza brava' narra la historia de dos amigos de la infancia que se convierten en líderes de la barra brava de Colo-Colo, la Garra Blanca. Basada en hechos reales, la trama se centra en la violencia, la amistad, la traición y las luchas de poder en este submundo del fútbol chileno. Trailer: https://youtu.be/mVQjNOE0FUQ?si=SkONpFEmO1aCanRR Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Analizamos sin spoilers por qué esta serie puede ser una de las experiencias más extrañas —y divertidas— que verás este año en televisión. Tim Robinson lo ha vuelto a hacer. En 'La Empresa de Sillas (The Chair Company), su primera gran serie para HBO, nos lleva a un mundo donde lo absurdo se convierte en norma y lo cotidiano en una fuente inagotable de paranoia. ¿Es una comedia? ¿Una sátira conspiranoica? ¿Una serie sobre sillas? Un poco de todo, y mucho más. Hablamos del estilo inconfundible de Robinson, de cómo evoluciona su humor al formato de temporada completa, de personajes imposibles y momentos tan incómodos como brillantes. Ya disponible en HBO Max Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

El análisis con spoilers del sexto y penúltimo episodio de Task, un capítulo devastador y lleno de consecuencias. Las piezas caen una a una: Robbie busca redimirse, Lizzy paga el precio más alto y Tom descubre hasta dónde llega la corrupción dentro del equipo. Entre disparos, traiciones y confesiones a medio susurrar, la serie entra en su recta final con una intensidad brutal. Todo lo que veníamos sospechando se confirma, y lo que parecía un operativo fallido se convierte en una tragedia personal que lo cambia todo. La tensión es máxima, y el episodio nos deja con una sola certeza: nadie saldrá indemne de esto.

Tratamos de resolver el enigma de Pluribus, la esperadísima nueva serie de Vince Gilligan (Breaking Bad, Better Call Saul) protagonizada por Rhea Seehorn. Una historia de ciencia ficción psicológica en la que la persona más infeliz del planeta tiene que salvar al mundo… de la felicidad. Con influencias de The Twilight Zone, The X-Files y una estética retro inquietante, esta producción de Apple TV+ promete romper esquemas con su propuesta ambiciosa, misteriosa y profundamente humana. En este programa repasamos todo lo que se sabe hasta ahora, teorías de fans y por qué creemos que Pluribus puede ser una de las grandes series del año. La serie se estrena el 7 de noviembre de 2025 en Apple TV+ Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

On this weeks episode Daniel, Sherman and Slothy talk about one of Slothys newest decks. This Dargo deck utilizes insane cost reduction to get our commander out and swinging at lightning speeds. What would you run in a deck like this ? Also ! This is a fully pauper deck and extremely budget ! Let us know if you want an upgraded version as well!Deck list below https://archidekt.com/decks/12416742/dargo_kediss_pdh Patreon: https://www.patreon.com/Intothe99Go to house of cards for the best place to grab your singles! Use the promo code IT99 for a discount! Supports a great shop, saves you money and supports the show! https://houseofcards.ca/Check out these amazing sleeves ! Ai Armor is the best in the game and if you click the link below you can get some amazing new designs. Support an awesome company and support us in the process!https://www.amazon.com/stores/AiArmor/page/E772952B-3C23-4BE5-AA38-81B49CA42450?maas=maas_adg_2D6C4AC19673AFF658FDF6AD59314A37_afap_abs&ref_=aa_maas&tag=maasIf you want awesome audio equipment buy Rode ! Our affiliate link is below!https://brandstore.rode.com?sca_ref=6254570.6h6a2qaxNBWe have new merch! Make sure you check it out!teespring.com/stores/intothe99    Intro musicIntro Music by:Track: Hollow PurpleMusic from: Daniel RudeOutro music Music: www.purple-planet.com  The Instagram for slothys band !https://www.instagram.com/necrotic_spew?igsh=dzJpY3ByMzd4ejJ2The instagram and YouTube for Daniels music https://www.instagram.com/danielrudemusic?igsh=MW5xa3JrbGNvdm9xbw==https://youtube.com/@danielrudemusic?si=IBRTawXFJRoQS0xchttps://www.instagram.com/theskysmiledback?igsh=a3BreTJ1NXVjcmdmhttps://youtube.com/@theskysmiledback?si=xquejMSFoJDUaA2v    The Gaming BlenderWe mash genres. We pitch games. You question our sanity.Listen on: Apple Podcasts SpotifySupport the show

House of Cards / Pastor Jeff Bowman by Hope City Church

Desde la Fiesta Nacional, en la Basílica del Pilar, California…C.J. Navas, Jorge y Don Carlos repasan la actualidad seriéfila de los diferentes canales, cadenas y plataformas, los estrenos de los próximos días, las ficciones más vistas por su audiencia, contestan a las preguntas de los oyentes y dan sus recomendaciones habituales de cada semana. Recomendaciones de la Semana: Don Carlos: La diplomática Jorge: Slow Horses / Shetland CJ: Open de España de Golf / “Esto ya se ha hecho” / Mr. Scorsese ¡Esperamos tus audiocomentarios!: Mándanos tus mensajes por WhatsApp al +34 604 41 64 49 o a ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fueradeseries.com/mensajes⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Vota en los Power Rankings: Participa en la elaboración de nuestros Power Rankings votando a tus series favoritas de la semana en: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://fdseri.es/33u15eb⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

C.J. Navas conversa con Paco Plaza y Pablo Guerrero, co-creadores y guionistas de "La Suerte: Una serie de Casualidades", la serie de Disney+ protagonizada por Óscar Jaenada y Ricardo Gómez, sobre el origen de la serie, las complejidades del rodaje, la posibilidad de una segunda temporada y mucho más. Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Recién estrenada la segunda temporada de "Poquita Fe" en Movistar Plus+, conversamos con sus creadores, Pepón Montero y Juan Maidagán, sobre el proceso de creación, los cambios con respecto a la primera entrega y qué continuidad puede tener la serie. Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

C.J. Navas conversa con Borja Glez. Santaolalla y Diana Rojo, co-creadores y guionistas de "La Suerte: Una serie de Casualidades", la serie de Disney+ protagonizada por Óscar Jaenada y Ricardo Gómez, sobre el proceso de escritura, cómo se introdujeron en el mundo de la tauromaquia para la documentación, la posibilidad de una segunda temporada y muchas más cosas. Únete a nuestro chat de Telegram en el que miles de personas hablamos cada día de series: Telegram – Grupo de debate: https://telegram.me/fueradeseries Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales: X / Twitter: https://twitter.com/fueradeseries Facebook: https://facebook.com/fueradeseries Instagram: https://www.instagram.com/fueradeseries/ Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

En este episodio comentamos la sorprendente compra de EA por parte de Arabia Saudí, repasamos todas las novedades del 40 aniversario de Mario con nuevos títulos y hardware especial de Nintendo, y celebramos las últimas locuras creativas de LEGO. También hablamos de los nuevos periféricos de Logitech diseñados para la nueva generación, analizamos la subida de precios de GamePass por parte de Microsoft, y terminamos con nuestras primeras impresiones del esperadísimo Marvel's Wolverine de Insomniac. Un programa cargado de giros, anuncios y emociones fuertes, porque aquí las fieras no descansan ni cuando el mercado se vuelve salvaje. #ea #arabiasaudí #nintendo40añosmario #lego #logitech #gamepass #wolverine #insomniacgames #ps5 #xboxseriesx #pcgaming #fierasenjuego #videojuegos Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

In a week of massive global developments, Dr. Jerome Corsi breaks down the news the mainstream media won't frame honestly:⚖️ Letitia James Indicted: The New York Attorney General who targeted Donald Trump is now facing bank and mortgage fraud charges following a grand jury indictment. Is this poetic justice — or the start of the Deep State's collapse?

Analizamos sin spoilers The Last Frontier, la nueva serie de acción y suspense en Apple TV+, con Jason Clarke como protagonista y bajo la dirección de Sam Hargrave. Sinopsis: En diez episodios este thriller sigue a Frank Remnick (Jason Clarke), el único jefe de policía de los EE. UU. a cargo de los tranquilos y escarpados páramos de Alaska. La jurisdicción de Remnick da un vuelco cuando un avión de transporte de presos se estrella en una zona remota y salvaje, y docenas de reclusos violentos quedan libres. Remnick, que debe encargarse de proteger el pueblo que ha jurado mantener a salvo, empieza a sospechar que aquello no fue un accidente, sino el primer paso de un plan perfectamente elaborado. Estreno: 10 de Octubre Únete a nuestro chat de telegram en el que miles de personas hablamos cada día de series: - Telegram – Grupo de debate: https://telegram.me/fueradeseries - Telegram – Canal de noticias: https://t.me/noticiasfds Síguenos en nuestras plataformas y podcast sobre series: - Apple Podcast - https://podcasts.apple.com/es/podcast/fuera-de-series/id288039262 - Spotify - https://open.spotify.com/show/3RTDss6AAGjSNozVOhDNzX?si=700febbf305144b7&nd=1 - iVoox - https://www.ivoox.com/podcast-fuera-series_sq_f12063_1.html Redes Sociales - Twitter: https://twitter.com/fueradeseries - Facebook: https://facebook.com/fueradeseries - Instagram: https://www.instagram.com/fueradeseries/ - Youtube: https://youtube.com/fueradeseries Learn more about your ad choices. Visit megaphone.fm/adchoices

Netflix's binge model changed how we watch TV, but 12 years after House of Cards premiered, the debate continues: all-at-once drops or weekly episodes for maximum buzz? As Netflix experiments with chunked releases and others tinker with two-at-a-time drops, Tom and Brian ask — do we need to pick one model at all?This week on The FULL Experience: Yellowstone (514 - "Life Is A Promise")Next week: Speed Racer (101 - "The Great Plan Part 1")Subscribe, get expanded show notes, and past episodes at http://Cordkillers.comSupport Cordkillers at http://Patreon.com/CordkillersYouTube: https://youtu.be/0bTUcZrY_3A Hosted on Acast. See acast.com/privacy for more information.

Today's show:*How many weirdly circular mega-deals is OpenAI going to sign this year?On a new TWiST, Jason and Alex consider OpenAI's latest agreement with AMD, how the biggest American companies keep trading cash and chips back and forth, and whether or not the entire AI economy might be a house of cards.PLUS what kind of fan/leafblower tech is Tesla working on… what can Jevons Paradox tell us about the AI landscape… how easy is it to master games in the YC Arena… and WHY has NASA never built a base on the moon? We're asking the TOUGH QUESTIONS so you don't have to, only on the #1 tech podcast, “This Week in Startups.”Timestamps:(0:00) Jason and Alex open the show discussing hunting and traditional Texas meat exchanges(2:16) ANOTHER weirdly circular OpenAI mega-deal? How many mega-deals can one company MAKE?(3:50) Are all these “bizarre” OpenAI deals creating a house of cards?(10:00) Stripe Startups - Stripe Startups offers early-stage, venture-backed startups access to Stripe fee credits and more. Apply today on stripe.com/startups.(20:00) Oracle - Try OCI and save up to 50% on your cloud bill at https://oracle.com/twist⁠⁠⁠(21:14) Is the Tesla Roadster 2 coming soon? Or maybe a leaf blower?!(22:00) Datacenters in space! Is it getting crowded up there?(26:22) Why no moon base yet? Jason demands a moon base.(27:00) We're playing games in the YC Arena… Can Jason guess which pitches got accepted?(30:00) Coda - Empower your startup with Coda's Team plan for free—get 6 months at https://www.Coda.io/twist(32:00) How Jason picks companies to invest in, based on a few signals and metrics(04500) We found out what Figure's bots are actually doing for BMW(53:00) Sharpies figured out how to make their pens here in the US… who's next?!(57:00) Could ChatGPT really replace Deloitte consultants? Considering the latest controversy…(01:03:29) It's another Gamma Pitch: Welcome Ryan Yannelli of NextVisit AI, which helps therapists take notesSubscribe to the TWiST500 newsletter: https://ticker.thisweekinstartups.comCheck out the TWIST500: https://www.twist500.comSubscribe to This Week in Startups on Apple: https://rb.gy/v19fcpFollow Lon:X: https://x.com/lonsFollow Alex:X: https://x.com/alexLinkedIn: ⁠https://www.linkedin.com/in/alexwilhelmFollow Jason:X: https://twitter.com/JasonLinkedIn: https://www.linkedin.com/in/jasoncalacanisThank you to our partners:Stripe Startups - Stripe Startups offers early-stage, venture-backed startups access to Stripe fee credits and more. Apply today on stripe.com/startups.Oracle - Try OCI and save up to 50% on your cloud bill at https://oracle.com/twist⁠⁠⁠Coda - Empower your startup with Coda's Team plan for free—get 6 months at https://www.Coda.io/twistGreat TWIST interviews: Will Guidara, Eoghan McCabe, Steve Huffman, Brian Chesky, Bob Moesta, Aaron Levie, Sophia Amoruso, Reid Hoffman, Frank Slootman, Billy McFarlandCheck out Jason's suite of newsletters: https://substack.com/@calacanisFollow TWiST:Twitter: https://twitter.com/TWiStartupsYouTube: https://www.youtube.com/thisweekinInstagram: https://www.instagram.com/thisweekinstartupsTikTok: https://www.tiktok.com/@thisweekinstartupsSubstack: https://twistartups.substack.comSubscribe to the Founder University Podcast: https://www.youtube.com/@founderuniversity1916

Last time we spoke about the Nanjing Massacre. Japanese forces breached Nanjing as Chinese defenders retreated under heavy bombardment, and the city fell on December 13. In the following weeks, civilians and disarmed soldiers endured systematic slaughter, mass executions, rapes, looting, and arson, with casualties mounting rapidly. Among the most brutal episodes were hundreds of executions near the Safety Zone, mass shootings along the Yangtze River, and killings at improvised sites and “killing fields.” The massacre involved tens of thousands of prisoners, with estimates up to 300,000 victims. Women and children were subjected to widespread rape, mutilation, and terror intended to crush morale and resistance. Although the Safety Zone saved many lives, it could not shield all refugees from harm, and looting and arson devastated large parts of the city. Foreign witnesses, missionaries, and diary entries documented the extensive brutality and the apparent premeditated nature of many acts, noting the collapse of discipline among troops and orders that shaped the violence.    #169 Nanjing has Fallen, the War is not Over Welcome to the Fall and Rise of China Podcast, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about the history of Asia? Kings and Generals have an assortment of episodes on history of asia and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel where I cover the history of China and Japan from the 19th century until the end of the Pacific War. Directly after the fall of Nanjing, rumors circulated among the city's foreigners that Tang Shengzhi had been executed for his inability to hold the city against the Japanese onslaught. In fact, unlike many of his subordinates who fought in the defense, he survived. On December 12, he slipped through Yijiang Gate, where bullets from the 36th Division had claimed numerous victims, and sailed across the Yangtze to safety. Chiang Kai-shek protected him from bearing direct consequences for Nanjing's collapse. Tang was not unscathed, however. After the conquest of Nanjing, a dejected Tang met General Li Zongren at Xuzhou Railway Station. In a brief 20-minute conversation, Tang lamented, “Sir, Nanjing's fall has been unexpectedly rapid. How can I face the world?” Li, who had previously taunted Tang for over-eagerness, offered sympathy. “Don't be discouraged. Victory or defeat comes every day for the soldier. Our war of resistance is a long-term proposition. The loss of one city is not decisive.” By December 1937, the outlook for Chiang Kai-shek's regime remained bleak. Despite his public pledges, he had failed to defend the capital. Its sturdy walls, which had withstood earlier sieges, were breached in less than 100 hours. Foreign observers remained pessimistic about the prospects of continuing the fight against Japan. The New York Times wrote “The capture of Nanking was the most overwhelming defeat suffered by the Chinese and one of the most tragic military debacles in modern warfare. In defending Nanking, the Chinese allowed themselves to be surrounded and then slaughtered… The graveyard of tens of thousands of Chinese soldiers may also be the graveyard of all Chinese hopes of resisting conquest by Japan.” Foreign diplomats doubted Chiang's ability to sustain the war, shrinking the question to whether he would stubbornly continue a losing fight or seek peace. US Ambassador Nelson Johnson wrote in a letter to Admiral Yarnell, then commander of the US Asicatic Fleet “There is little left now for the Chinese to do except to carry on a desultory warfare in the country, or to negotiate for the best terms they can get”.  The Japanese, too, acted as if Chiang Kai-shek had already lost the war. They assumed the generalissimo was a spent force in Chinese politics as well, and that a gentle push would suffice to topple his regime like a house of cards. On December 14, Prime Minister Konoe announced that Chiang's losses of Beijing, Tianjin, Shanghai, and now Nanjing, had created a new situation. “The National Government has become but a shadow of its former self. If a new Chinese regime emerged to replace Chiang's government, Japan would deal with it, provided it is a regime headed in the right direction.” Konoe spoke the same day as a Liaison Conference in Tokyo, where civilian and military leaders debated how to treat China now that it had been thoroughly beaten on the battlefield. Japanese demands had grown significantly: beyond recognizing Manchukuo, Japan pressed for the creation of pro-Japanese regimes in Inner Mongolia and the north China area. The same day, a puppet government was established in Japanese-occupied Beijing. While these demands aimed to end China as a unitary state, Japanese policy was moving toward the same goal. The transmissions of these demands via German diplomatic channels caused shock and consternation in Chinese government circles, and the Chinese engaged in what many regarded as stalling tactics. Even at this late stage, there was division among Japan's top decision makers. Tada, deputy chief of the Army General Staff, feared a protracted war in China and urged keeping negotiations alive. He faced strong opposition from the cabinet, including the foreign minister and the ministers of the army and navy, and ultimately he relented. Tada stated “In this state of emergency, it is necessary to avoid any political upheaval that might arise from a struggle between the Cabinet and the Army General Staff.” Although he disagreed, he no longer challenged the uncompromising stance toward China. On January 16, 1938, Japan publicly stated that it would “cease henceforth to deal with” Chiang Kai-shek. This was a line that could not be uncrossed. War was the only option. Germany, the mediator between China and Japan, also considered Chiang a losing bet. In late January 1938, von Dirksen, the German ambassador in Tokyo, urged a fundamental shift in German diplomacy and advocated abandoning China in favor of Japan. He warned that this was a matter of urgency, since Japan harbored grudges against Germany for its half-hearted peace efforts. In a report, von Dirksen wrote that Japan, “in her deep ill humor, will confront us with unpleasant decisions at an inopportune moment.” Von Dirksen's view carried the day in Berlin. Nazi Germany and Hirohito's Japan were on a trajectory that, within three years, would forge the Axis and place Berlin and Tokyo in the same camp in a conflict that would eventually span the globe. Rabe, who returned to Germany in 1938, found that his account of Japanese atrocities in Nanjing largely fell on deaf ears. He was even visited by the Gestapo, which apparently pressed him to keep quiet about what he had seen. Ambassador von Dirksen also argued in his January 1938 report that China should be abandoned because of its increasingly friendly ties with the Soviet Union. There was some merit to this claim. Soviet aid to China was substantial: by the end of 1937, 450 Soviet aviators were serving in China. Without them, Japan likely would have enjoyed air superiority. Chiang Kai-shek, it seemed, did not fully understand the Russians' motives. They were supplying aircraft and pilots to keep China in the war while keeping themselves out. After Nanjing's fall, Chiang nevertheless reached out to Joseph Stalin, inviting direct Soviet participation in the war. Stalin politely declined, noting that if the Soviet Union joined the conflict, “the world would say the Soviet Union was an aggressor, and sympathy for Japan around the world would immediately increase.” In a rare moment of candor a few months later, the Soviet deputy commissar for foreign affairs spoke with the French ambassador, describing the situation in China as “splendid.” He expected China to continue fighting for several more years, after which Japan would be too weakened to undertake major operations against the Soviet Union. It was clear that China was being used. Whatever the motive, China was receiving vital help from Stalin's Russia while the rest of the world stood on the sidelines, reluctant to upset Japan. Until Operation Barbarossa, when the Soviet Union was forced to the brink by the German Army and could no longer sustain extensive overseas aid, it supplied China with 904 planes, 1,516 trucks, 1,140 artillery pieces, 9,720 machine guns, 50,000 rifles, 31,600 bombs, and more. Despite all of this, all in all, China's position proved less disastrous than many observers had feared. Chinese officials later argued that the battle of Nanjing was not the unmitigated fiasco it appeared to be. Tang Shengzhi had this to say in his memoirs“I think the main purpose of defending Nanjing was to buy time, to allow troops that had just been pulled out of battle to rest and regroup. It wasn't simply because it was the capital or the site of Sun Yat-sen's mausoleum.” Tan Daoping, an officer in Nanjing, described the battle “as a moderate success because it drew the Japanese in land”. This of course was a strategy anticipated by interwar military thinker Jiang Baili. It also allowed dozens of Chinese divisions to escape Shanghai, since the Japanese forces that could have pursued them were tied down with the task of taking Nanjing. Tan Daoping wrote after the war “They erred in believing they could wage a quick war and decide victory immediately. Instead, their dream was shattered; parts of their forces were worn out, and they were hindered from achieving a swift end”. Even so, it was a steep price was paid in Chinese lives. As in Shanghai, the commanders in Nanjing thought they could fight on the basis of sheer willpower. Chinese officer Qin Guo Qi wrote in his memoirs “In modern war, you can't just rely on the spirit of the troops. You can't merely rely on physical courage and stamina. The battle of Nanjing explains that better than anything”. As for the Brigade commander of the 87th division, Chen Yiding, who emerged from Nanjing with only a few hundred survivors, was enraged. “During the five days of the battle for Nanjing, my superiors didn't see me even once. They didn't do their duty. They also did not explain the overall deployments in the Nanjing area. What's worse, they didn't give us any order to retreat. And afterwards I didn't hear of any commander being disciplined for failing to do his job.” Now back in November of 1937, Chiang Kai-shek had moved his command to the great trinity of Wuhan. For the Nationalists, Wuhan was a symbolically potent stronghold: three municipalities in one, Hankou, Wuchang, and Hanyang. They had all grown prosperous as gateways between coastal China and the interior. But the autumn disasters of 1937 thrust Wuhan into new prominence, and, a decade after it had ceased to be the temporary capital, it again became the seat of military command and resistance. Leading Nationalist politicians had been seen in the city in the months before the war, fueling suspicions that Wuhan would play a major role in any imminent conflict. By the end of the year, the generals and their staffs, along with most of the foreign embassies, had moved upriver. Yet as 1937 slipped into 1938, the Japanese advance seemed practically unstoppable. From the destruction of Shanghai, to the massacre in Nanjing, to the growing vulnerability of Wuhan, the NRA government appeared powerless against the onslaught.  Now the Japanese government faced several options: expanding the scope of the war to force China into submission, which would risk further depletion of Japan's military and economic resources; establishing an alternative regime in China as a bridge for reconciliation, thereby bypassing the Nationalist government for negotiations; and engaging in indirect or direct peace negotiations with the Nationalist Government, despite the failure of previous attempts, while still seeking new opportunities for negotiation. However, the Nanjing massacre did not compel the Chinese government and its people to submit. On January 2, Chiang Kai-shek wrote in his diary, “The conditions proposed by Japan are equivalent to the conquest and extinction of our country. Rather than submitting and perishing, it is better to perish in defeat,” choosing to refuse negotiations and continue resistance.  In January 1938 there was a new escalation of hostilities. Up to that point, Japan had not officially declared war, even during the Shanghai campaign and the Nanjing massacre. However on January 11, an Imperial Conference was held in Tokyo in the presence of Emperor Hirohito. Prime Minister Konoe outlined a “Fundamental Policy to deal with the China Incident.”The Imperial Conference was attended by Prime Minister Fumimaro Konoe, Army Chief of Staff Prince Kan'in, Navy Minister Admiral Fushimi, and others to reassess its policy toward China. Citing the Nationalist Government's delay and lack of sincerity, the Japanese leadership decided to terminate Trautmann's mediation. At the conference, Japan articulated a dual strategy: if the Nationalist Government did not seek peace, Japan would no longer regard it as a viable negotiating partner, instead supporting emerging regimes, seeking to resolve issues through incidents, and aiming either to eliminate or incorporate the existing central government; if the Nationalist Government sought reconciliation, it would be required to cease resistance, cooperate with Japan against communism, and pursue economic cooperation, including officially recognizing Manchukuo and allowing Japanese troops in Inner Mongolia, North China, Central China, and co-governance of Shanghai. The Konoe cabinet relayed this proposal to the German ambassador in Japan on December 22, 1937: It called for: diplomatic recognition of Manchukuo; autonomy for Inner Mongolia; cessation of all anti-Japanese and anti-Manchukuo policies; cooperation between Japan, Manchukuo, and China against communism; war reparations; demilitarized zones in North China and Inner Mongolia; and a trade agreement among Japan, Manchukuo, and China.  Its terms were too severe, including reparations payable to Japan and new political arrangements that would formalize the separation of north China under Japanese control. Chiang's government would have seventy-two hours to accept; if they refused, Tokyo would no longer recognize the Nationalist government and would seek to destroy it.  On January 13, 1938, the Chinese Foreign Minister Wang Chonghui informed Germany that China needed a fuller understanding of the additional conditions for peace talks to make a decision. The January 15 deadline for accepting Japan's terms elapsed without Chinese acceptance. Six days after the deadline for a Chinese government reply, an Imperial Conference “Gozen Kaigi” was convened in Tokyo to consider how to handle Trautmann's mediation. The navy, seeing the war as essentially an army matter, offered no strong position; the army pressed for ending the war through diplomatic means, arguing that they faced a far more formidable Far Eastern Soviet threat at the northern Manchukuo border and wished to avoid protracted attrition warfare. Foreign Minister Kōki Hirota, however, strongly disagreed with the army, insisting there was no viable path to Trautmann's mediation given the vast gap between Chinese and Japanese positions. A second conference followed on January 15, 1938, attended by the empire's principal cabinet members and military leaders, but without the emperor's presence. The debate grew heated over whether to continue Trautmann's mediation. Hayao Tada, Deputy Chief of Army General Staff, argued for continuation, while Konoe, Hirota, Navy Minister Mitsumasa Yonai, and War Minister Hajime Sugiyama opposed him. Ultimately, Tada acceded to the position of Konoe and Hirota. On the same day, Konoe conveyed the cabinet's conclusion, termination of Trautmann's mediation, to the emperor. The Japanese government then issued a statement on January 16 declaring that it would no longer treat the Nationalist Government as a bargaining partner, signaling the establishment of a new Chinese regime that would cooperate with Japan and a realignment of bilateral relations. This became known as the first Konoe statement, through which Tokyo formally ended Trautmann's mediation attempt. The Chinese government was still weighing its response when, at noon on January 16, Konoe publicly declared, “Hereafter, the Imperial Government will not deal with the National Government.” In Japanese, this became the infamous aite ni sezu (“absolutely no dealing”). Over the following days, the Japanese government made it clear that this was a formal breach of relations, “stronger even than a declaration of war,” in the words of Foreign Minister Hirota Kōki. The Chinese ambassador to Japan, who had been in Tokyo for six months since hostilities began, was finally recalled. At the end of January, Chiang summoned a military conference and declared that the top strategic priority would be to defend the east-central Chinese city of Xuzhou, about 500 kilometers north of Wuhan. This decision, like the mobilization near Lugouqiao, was heavily influenced by the railway: Xuzhou sat at the midpoint of the Tianjin–Pukou Jinpu line, and its seizure would grant the Japanese mastery over north–south travel in central China. The Jinpu line also crossed the Longhai line, China's main cross-country artery from Lanzhou to the port of Lianyungang, north of Shanghai. The Japanese military command marked the Jinpu line as a target in spring 1938. Control over Xuzhou and the rail lines threading through it were thus seen as vital to the defense of Wuhan, which lay to the city's south. Chiang's defense strategy fit into a larger plan evolving since the 1920s, when the military thinker Jiang Baili had first proposed a long war against Japan; Jiang's foresight earned him a position as an adviser to Chiang in 1938. Jiang had previously run the Baoding military academy, a predecessor of the Whampoa academy, which had trained many of China's finest young officers in the early republic 1912–1922. Now, many of the generals who had trained under Jiang gathered in Wuhan and would play crucial roles in defending the city: Chen Cheng, Bai Chongxi, Tang Shengzhi, and Xue Yue. They remained loyal to Chiang but sought to avoid his tendency to micromanage every aspect of strategy.  Nobody could say with certainty whether Wuhan would endure the Japanese onslaught, and outsiders' predictions were gloomy. As Wuhan's inhabitants tasted their unexpected new freedoms, the Japanese pressed on with their conquest of central China. After taking Nanjing, the IJA 13th Division crossed the Yangtze River to the north and advanced to the Outang and Mingguang lines on the east bank of the Chihe River in Anhui Province, while the 2nd Army of the North China Front crossed the Yellow River to the south between Qingcheng and Jiyang in Shandong, occupied Jinan, and pressed toward Jining, Mengyin, and Qingdao. To open the Jinpu Railway and connect the northern and southern battlefields, the Japanese headquarters mobilized eight divisions, three brigades, and two detachments , totaling about 240,000 men. They were commanded by General Hata Shunroku, commander of the Central China Expeditionary Army, and Terauchi Hisaichi, commander of the North China Front Army. Their plan was a north–south advance: first seize Xuzhou, a strategic city in east China; then take Zhengzhou in the west along the Longhai Railway connecting Lanzhou and Lianyungang; and finally push toward Wuhan in the south along the Pinghan Railway connecting Beijing and Hankou. At the beginning of 1938, Japan's domestic mobilization and military reorganization had not yet been completed, and there was a shortage of troops to expand the front. At the Emperor's Imperial Conference on February 16, 1938, the General Staff Headquarters argued against launching operations before the summer of 1938, preferring to consolidate the front in 1938 and undertake a large-scale battle in 1939. Although the Northern China Expeditionary Force and the Central China Expeditionary Force proposed a plan to open the Jinpu Line to connect the northern and southern battlefields, the proposal was not approved by the domestic General Staff Headquarters. The Chinese army, commanded by Li Zongren, commander-in-chief of the Fifth War Zone, mobilized about 64 divisions and three brigades, totaling roughly 600,000 men. The main force was positioned north of Xuzhou to resist the southern Japanese advance, with a portion deployed along the southern Jinpu Railway to block the southern push and secure Xuzhou. Early in the campaign, Chiang Kai-shek redeployed the heavy artillery brigade originally promised to Han Fuju to Tang Enbo's forces. To preserve his strength, Shandong Provincial Governor Han Fuju abandoned the longstanding Yellow River defenses in Shandong, allowing the Japanese to capture the Shandong capital of Jinan in early March 1938. This defection opened the Jinpu Railway to attack. The Japanese 10th Division, under Rensuke Isogai, seized Tai'an, Jining, and Dawenkou, ultimately placing northern Shandong under Japanese control. The aim was to crush the Chinese between the two halves of a pincer movement. At Yixian and Huaiyuan, north of Xuzhou, both sides fought to the death: the Chinese could not drive back the Japanese, but the Japanese could not scatter the defenders either. At Linyi, about 50 kilometers northeast of Xuzhou, Zhang Zizhong, who had previously disgraced himself by abandoning an earlier battlefield—became a national hero for his determined efforts to stop the Japanese troops led by Itagaki Seishirō, the conqueror of Manchuria. The Japanese hoped that they could pour in as many as 400,000 troops to destroy the Chinese forces holding eastern and central China. Chiang Kai-shek was determined that this should not happen, recognizing that the fall of Xuzhou would place Wuhan in extreme danger. On April 1, 1938, he addressed Nationalist Party delegates, linking the defense of Wuhan to the fate of the party itself. He noted that although the Japanese had invaded seven provinces, they had only captured provincial capitals and main transport routes, while villages and towns off those routes remained unconquered. The Japanese, he argued, might muster more than half a million soldiers, but after eight or nine months of hard fighting they had become bogged down. Chiang asserted that as long as Guangzhou (Canton) remained in Chinese hands, it would be of little significance if the Japanese invaded Wuhan, since Guangzhou would keep China's sea links open and Guangdong, Sun Yat-sen's homeland, would serve as a revolutionary base area. If the “woren” Japanese “dwarfs” attacked Wuhan and Guangzhou, it would cost them dearly and threaten their control over the occupied zones. He reiterated his plan: “the base area for our war will not be in the zones east of the Beiping–Wuhan or Wuhan–Guangdong railway lines, but to their west.” For this reason he authorized withdrawing Chinese troops behind the railway lines. Chiang's speech mixed defiance with an explanation of why regrouping was necessary; it was a bold public posture in the face of a developing military disaster, yet it reflected the impossible balance he faced between signaling resolve and avoiding overcommitment of a city that might still fall. Holding Xuzhou as the first priority required Chiang Kai-shek to place a great deal of trust in one of his rivals: the southwestern general Li Zongren. The relationship between Chiang and Li would become one of the most ambivalent in wartime China. Li hailed from Guangxi, a province in southwestern China long regarded by the eastern heartland as half civilized. Its people had rarely felt fully part of the empire ruled from Beijing or even Nanjing, and early in the republic there was a strong push for regional autonomy. Li was part of a cohort of young officers trained in regional academies who sought to bring Guangxi under national control; he joined the Nationalist Party in 1923, the year Sun Yat-sen announced his alliance with the Soviets. Li was not a Baoding Academy graduate but had trained at Yunnan's equivalent institution, which shared similar views on military professionalism. He enthusiastically took part in the Northern Expedition (1926–1928) and played a crucial role in the National Revolutionary Army's ascent to control over much of north China. Yet after the Nanjing government took power, Li grew wary of Chiang's bid to centralize authority in his own person. In 1930 Li's so‑called “Guangxi clique” participated in the Central Plains War, the failed effort by militarist leaders to topple Chiang; although the plot failed, Li retreated to his southwest base, ready to challenge Chiang again. The occupation of Manchuria in 1931 reinforced Li's belief that a Japanese threat posed a greater danger than Chiang's centralization. The tension between the two men was evident from the outset of the war. On October 10, 1937, Chiang appointed Li commander of the Fifth War Zone; Li agreed on the condition that Chiang refrain from issuing shouling—personal commands—to Li's subordinates. Chiang complied, a sign of the value he placed on Li's leadership and the caution with which he treated Li and his Guangxi ally Bai Chongxi. As Chiang sought any possible victory amid retreat and destruction, he needed Li to deliver results. As part of the public-relations front, journalists were given access to commanders on the Xuzhou front. Li and his circle sought to shape their image as capable leaders to visiting reporters, with Du Zhongyuan among the most active observers. Du praised the “formidable southwestern general, Li Zongren,” calling him “elegant and refined” and “vastly magnanimous.” In language echoing the era's soldiers' public presentation, Du suggested that Li's forces operated under strict, even disciplined, orders “The most important point in the people's war is that . . . troops do not harass the people of the country. If the people are the water, the soldiers are the fish, and if you have fish with no water, inevitably they're going to choke; worse still is to use our water to nurture the enemy's fish — that really is incomparably stupid”.  Within the southern front, on January 26, 1938, the Japanese 13th Division attacked Fengyang and Bengbu in Anhui Province, while Li Pinxian, Deputy Commander-in-Chief of the 5th War Zone, directed operations south of Xuzhou. The defending 31st Corps of the 11th Group Army, after resisting on the west bank of the Chi River, retreated to the west of Dingyuan and Fengyang. By February 3, the Japanese had captured Linhuai Pass and Bengbu. From the 9th to the 10th, the main force of the 13th Division forced a crossing of the Huai River at Bengbu and Linhuai Pass respectively, and began an offensive against the north bank. The 51st Corps, reorganized from the Central Plains Northeast Army and led by Commander Yu Xuezhong, engaged in fierce combat with the Japanese. Positions on both sides of the Huai shifted repeatedly, producing a riverine bloodbath through intense hand-to-hand fighting. After ten days of engagement, the Fifth War Zone, under Zhang Zizhong, commander of the 59th Army, rushed to the Guzhen area to reinforce the 51st Army, and the two forces stubbornly resisted the Japanese on the north bank of the Huai River. Meanwhile, on the south bank, the 48th Army of the 21st Group Army held the Luqiao area, while the 7th Army, in coordination with the 31st Army, executed a flanking attack on the flanks and rear of the Japanese forces in Dingyuan, compelling the main body of the 13th Division to redeploy to the north bank for support. Seizing the initiative, the 59th and 51st Armies launched a counteroffensive, reclaiming all positions north of the Huai River by early March. The 31st Army then moved from the south bank to the north, and the two sides faced across the river. Subsequently, the 51st and 59th Armies were ordered to reinforce the northern front, while the 31st Army continued to hold the Huai River to ensure that all Chinese forces covering the Battle of Xuzhou were safely withdrawn. Within the northern front, in late February, the Japanese Second Army began its southward push along multiple routes. The eastern axis saw the 5th Division moving south from Weixian present-day Weifang, in Shandong, capturing Yishui, Juxian, and Rizhao before pressing directly toward Linyi, as units of the Nationalist Third Corps' 40th Army and others mounted strenuous resistance. The 59th Army was ordered to reinforce and arrived on March 12 at the west bank of the Yi River in the northern suburbs of Linyi, joining the 40th Army in a counterattack that, after five days and nights of ferocious fighting, inflicted heavy losses on the Japanese and forced them to retreat toward Juxian. On the western route, the Seya Detachment (roughly a brigade) of the Japanese 10th Division crossed the Grand Canal from Jining and attacked Jiaxiang, meeting stiff resistance from the Third Army and being thwarted, while continuing to advance south along the Jinpu Railway. The Isogai Division, advancing on the northern route without awaiting help from the southeast and east, moved southward from Liangxiadian, south of Zouxian, on March 14, with the plan to strike Tengxian, present-day Tengzhou on March 15 and push south toward Xuzhou. The defending 22nd Army and the 41st Corps fought bravely and suffered heavy casualties in a hard battle that lasted until March 17, during which Wang Mingzhang, commander of the 122nd Division defending Teng County, was killed in action. Meanwhile, a separate Japanese thrust under Itagaki Seishirō landed on the Jiaodong Peninsula and occupied Qingdao, advancing along the Jiaoji Line to strike Linyi, a key military town in southern Shandong. Pang Bingxun's 40th Army engaged the invaders in fierce combat, and later, elements of Zhang Zizhong's 333rd Brigade of the 111th Division, reinforced by the 57th Army, joined Pang Bingxun's forces to launch a double-sided pincer that temporarily repelled the Japanese attack on Linyi. By late March 1938 a frightening reality loomed: the Japanese were close to prevailing on the Xuzhou front. The North China Area Army, commanded by Itagaki Seishirō, Nishio Toshizō, and Isogai Rensuke, was poised to link up with the Central China Expeditionary Force under Hata Shunroku in a united drive toward central China. Li Zongren, together with his senior lieutenants Bai Chongxi and Tang Enbo, decided to confront the invaders at Taierzhuang, the traditional stone-walled city that would become a focal point of their defense. I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. Nanjing falls after one of humanities worst atrocities. Chiang Kai-Shek's war command has been pushed to Wuhan, but the Japanese are not stopping their advance. Trautmann's mediation is over and now Japan has its sights on Xuzhou and its critical railway junctions. Japan does not realize it yet, but she is now entering a long war of attrition.